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AUTHOR: 


RADFORD,  ROBERT  S 


TITLE: 


STUDIES  IN  LATIN 
ACCENT  AND  METRIC 

PLACE: 

L^'      'J 

DA  TE : 

[1 904] 


COLUMBIA  UNIVERSITY  LIBRARIES 
PRESERVATION  DEPARTMENT 


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1  Rad ford ,     Rober t    S , 

10      Studies    in    Latin    /*iccent    m^d    Metri  c«  f  hi:mi  croform:]  . 

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HLMED  BY:    RESEARCH  PUBLICATIONS.  INC  WOODDRIDGE.  CT  ' 


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MRNUFFICTURED   TO  fillM  STPNDRRDS 
BY  APPLIED  IMfiGE,    INC. 


Extracted  from  the  Trahsacti.ms  of  the  America,,  Philoloi;kal 

Association,  Vol.  xxxv,  1904. 


h^"^^   i^c^  i/^j 


/ 


III.  — Studies  in  Latin  Accent  and  Metiic. 
By  Trok.  R()15KR-r   s.    RADFORD, 

ELMJKA    COLLKGK. 

I.    Introduction. 

In  a  former  paper  (  Tnui..  Am.  Plnl.  Assoc,  190,)  I  sot.^ht 
to  show  that  in  tribrach  word-groups,  the  first  word  of  whk:h 
IS  a  monosyllable,  the  accent  receded  upon  the  monosyllable 

(A  J. I      N„    98  ff.)  that  this   is   regularly  the  case  also  in 
many  dactyhc  word-groups  of  the   same   kind,  such  as  AV 

Jacis,  scd  scio,  a  patrc. 

The  question  at  once  arises, -What  is  the  explanation  of 
this  striking  phenomenon  ?     Why  does  the  accent  recede  so 
cons  antly   in    these  groups  ?      Although    monosvllables    are 
usually  connected  closely  in  pronunciation  with  the  followin.^ 
word.  ,t  ,s  evident  that  this  fact  alone  is  insufficient  as  an 
explanation,    unless   it   can    also   be   shown   that   the   great 
maj,,nty  of  these  groups  follow  some  usual  arrangement  of 
words,  some   usual  and    preferred  word-order.      This  proof 
I  have  attempted  to  supply  by  pointing  out  {A.J.P  XXV 
256  ff.)  that  groups  like  hlc  /wm„,  liic  dies  follow  the  I  -Fur' 
traditional  word-order  by  which  the  demonstrative  pronoun 
.mmechately  precedes  the  substantive,  groups  like,;.!/,/.,.., 
-P<o,  fans  the  traditional  order  by  which  the  object  immedi: 
ately  precedes  the  verb,  groups  like  sai  rrus,  scd  ego   the 
raditional  order  by  which  the  sentence-introducing  coniunc 
tmn  inimechately  precedes  the  subject,  and  so  on.     The  prin- 

Phr  s  s  ,!;,  '  •".°""^.y"=^b''-"'  -  "'-y  frequent  and  usual 
^ene  ""■'^=''■'^^  "''*'=  ?'"'^  "Sis,  guodfacis,  etc.,  that  a 
.enera    type  ,s  eventually  established  to  which  the  accent 

ther.  •  '"'■"'''  '=°.T''''"'''"°"^  ''^  "^^de  to  conform.  Finally, 
here  .3  some  evidence  to  show  that  even  in  the  case  of  poly! 
}  liable  words  a  traditional  order,  such  as  that  of  objec   and 


<J'^ 


Robert  S.  Radford, 


[1904 


verb,  sometimes  admits  in  Plautus  the  recessive  accent,  e.^. 

sgmm  veiim. 

In  tie  present  paper  I  wish  to  show  the  influence  of  the 
traditional  word-order  still  further  by  treating  the  accent  of 
the  conjunctions  and  pronouns  in  the  Latin  sentence.  The 
numerous  peculiarities  of  accent  and  metre  which  these  parts 
Hi  speech  cxWbit,  liave  long  been  a  cause  of  perplexity  to 
Plautine  scbolars,  and,  with  the  notable  exception  of  the  treat- 
ment of  the  accentuations  iiium,  isium,  ipsthn  by  Skutsch, 
have  usually  been  inadequately  explained.  I  shall  further 
discuss  the  accent  in  the  traditional  order  adjective  +  noun, 
and  finally,  since  recent  accentoal  studies  have  considerably 
modified  and,  in  some  cases,  seriously  unsettled  the  views  of 
Latin  scholars  in  this  field,  I  shall  attempt  to  state  concisely 
the  general  relation  which  appears  to  exist  between  word  and 
verse-accent  in  Latin  verse. 

IL  Accent  of  Conjunctions. 
The  grammarians  repeatedly  assert  that  the  conjunction 

qtiand&  is  often  accented  qitando  (Scholl,  Dc  ace,  p.  173  f.)- 
In  accordance  with  their  favorite  method  they  wish  to  make 
the  difference  of  accent  depend,  it  is  true,  upon  a  difference 
of  meaning,  and  no  two  of  them  can  agree  just  what  this 
difference  of  meaning  shall  be.  Nevertheless  the  original 
statement  appears  tO'^  be  essentially  correct,  and  is  confirmed 
by  the  independent  statement  of  Donatus  (Ter.  Eun.  Ill,  i, 
47)  upon  the  accents  siquando,  n^quando.  Similar  testi- 
monies respecting  the  oxytonesis  of  other  conjunctions  (/>////r, 
fmmmm,  miiem.,fii^sfqmm)Mt  collected  by  Scholl,  /.A,  194 ff., 
17s.  A  monosyllabic  sentence-introducing  conjunction,  as 
I  have  shown  elsewhere  {A  J. P.  XXV,  259),  regularly  coa- 
lesces with  the  verb,  r»/.  sfseio,  si-vah,  and,  by  extension 
of'  this  usage,  sometimes  with  other  parts  of  speech.  We 
find  three  cases  ol  a  similar  proclisis  of  qnand§ki  the  critical 
feet  of   Plautine  verse,  viz.  Bm,  224  quando  volt ;   Cap.  86 

<|uani<S  fts;  M€u,  664  naando*  quid.^     In  all   these  cases 

1  A  miimeral  placed  in  the  line  denotes  a  fjot  of  trochaic  verse;  below  the  line, 
a  foot  of  iambic  verse. 


Vol.  x-xxv.]     Studies  in  Latin  Accent  and  Metric.  35 

quando^  coalesces  with  a  following  monosyllable,  just  as  the 
prepositions  in  the  frequent  combinations /r.^/.V;;,.  praetd^ 
spent,  and  the  like.     When  a  preposition  or  conjunction  coa- 
lesces  with  an  iambic  word,   as  in   propter  mare  iRu   u^ 
quando  sciet  (C./.  406),  quando  lubet  (4  times  ^x'the  result 

;;;?  ZLT^r^'  ^T"""'  ^^^  ^'^"^^^^  '^  -gulany  needed 
for  making  the  verse-close,  and  this  is  the  true  explanation 

ot  Its  rare  occurrence  in  the  critical  feet.  Moreover,  the 
prochsis  of  quando  is  not  invariable;  for  we  find  Am.  1007 
quando  satis  instead  of  quando  satis  ;  cf   Cap   ^'^e  2 

With  respect  to  the   other    polysyllabic   conjunctions,  an 
examination  of  the  critical   feet  yields  a  similar  result    v" 
the  prochsis  of  the  conjunctions  is  admissible  but  not  invari' 

WHnn        '  T  ^""^  ^"  '"  '""^'^^^"^  ""^^^  ^^  -^Tt^^^e  con. 
r  r^  ^R-rM'""^'"  ^^  A^../..;.(7)v.  913  tamqua^m 
me,  where  Ritschl  writes  unnecessarily  tarn  quam  me  •  As 
427  tamquam  si);    one  of  etst  (  7)v.   52;  etsi  scelestus  est) • 
one  of  ../.;./ (Syr.  Sent.  39  siciit  fax,   Ribb. ;   Meyer  with  one 
Ms. :  ita  lit  fax);  three  of  nnnio  (  Tri.  427  immo  quas  ;  P/^or 
644  inim6  malum  hercle ;    Poe.   151   imnio   mihi);    three   of 
etnrm  (A/er.  728  etiam  vis;   Ad  279  etiam   maneo  otiosus ; 
Syr.  Sent.  557  etiam  queri);  two  of  siqui^ian  {Mi.  624  siqui- 
de*m  te;    St.  616  siquide^m  mea);   one  of  quidni  (Mi    cc. 
quKln.  fateare);  one  of  quam  obrem  (Phor.  715  quam  obr^m 
dem);  one  perhaps  oi postquam  {Am.  806  postqua^m  cenaVi- 
nnis);  two  perhaps  of  .7///^  (/^^r.  162  tibi  quii  super  est  cf 

»  For  this  study   I   have  used   chiefly  the   dissertations  of  O    Bru-^man    D. 

I87V    kZZ   i^  ]     ^^'  '   ^'   ''^"^f'^^o  ap.   PL    septenario,   Leipzig, 

•073,    *>^^^\^r,De  trochauis  stpftnarii^  riauf    ri-ill,.    iR^n.    t>    r     \  •    rs 

Wnwt^^^.^*       •       J       ..         '"'^'"'^  iieriin,  1SS2;    W.  Meyer,  Beobachtunz  des 

/'"W,>,  Strassburg    ,g8c-    Ahlb' r  / /;     .  ^'    ^'^'^'^^'^  ^' P^'^^^^-  -ne 

Lund    ,nL.    Ri,,Hl'^    /      '^^^^^'^'  ^'' ^'''''^''^^'^''^'^'^^ 


Robert  S.  Radford, 


[1904 


Podiaski,  /./.,  p.  12;  Ad  523  nfsi  quia«  prop^st;  cf.  TrL  938 
nisi  qiiiaa  lubet).^  Also,  in  the  case  of  apparently  broken 
dactyls  with  atque  (Tri.  935  a*tque  cunila;  Men.  508;  ML 
958;  cf.  St,  701  du^nique  se  exornat),  the  assumption  of 
syncope  is  not  necessary,  but  the  proclisis  of  the  conjunction 
iS"  an  alternative  explanation ;  cf .  the  similar  example  with 
skmt,  p.  45.  From  this  survey  I  conclude  that  the  oxytonesis 
of  the  conjunctions,  which  is  asserted  by  the  grammarians,  is 
confirmed  by  the  evidence  of  dramatic  verse.^ 

III.   Accent  of  Pronouns. 

As  early  as  the  time  of  Quintilian  the  ancient  grammarians 
had  noted  the  exceptional  oxytonesis  existing  in  the  pronouns 
and  derived  adverbs  (in  adverbiis  fere  solis  ac  pronominibus, 
Quint.  I,  5,  26),  and  similar  statements  are  often  made  later, 
usually  with  an  explanation  drawn  from  the  fatal  difftrcntiae 
€Mmsa  method  (Scholl,  /./.,  170  ff.)-  ^«  t"^^  ^^  concerns 
itlmm^  istmM,  f^si/iii,  a  thoroughgoing  oxytonesis  of  these  pro- 
nouns is  indicated  by  the  derivative  Romance  forms,  and  has 
been  justly  vindicated  for  the  Plautine  period  by  Skutsch, 
Ftfrii'/i^p.  130  ff.^^  Skutsch  has  also  assumed  that  the  oxy- 
tonesis first  arose  through  the  proclisis  of  the  pronoun  in 
such  traditional  orders  as  i/him-fairem,  OMm-vidrt,  and  was 
subsequently  extended  beyond  its  original  limits.  This  ac- 
coiinl  is  undoubtedly  correct,  so  far  as  it  goes,  but  the  full 
logical  consequences  of  the  proclisis  of  t'iie  are  not  developed 
by  Skutsch.  The  phenomena  to  be  discussed  are  curious 
enough,  and  if  each  one  of  them  be  studied  separately,  as 

1  Examples  like  quid-igitu«r  (3Ie,  91 1;  Tri.  333),  with  preceding  mono- 
syllable, are  not  incluctei  in  tlie  above.  For  the  frequent  accentuation  of  i£^/ur, 
eJepolj  also  aiiter,  aiia  upon  the  ultima  in  proceleusmatici,  v.  Ahlberg,  Procei,  1, 

%%. 

8  Interesting  also  is  the  regular  proclisis  of  the  adverb  in  association  with  the 
adjective,   e.g.   And,  120   ade6-modesto,  adeo-vendsto,  cf.  the  strict  observance 

of  Ijiehmann's  law  seen  in  idm-ciiS  {AJ.K  No.    icx));    Ep,   380  aliquanto 
lubentids. 

»  A  correct  view  was  also  taken  by  Conradt,  De  vers.  Terent.  struct.^  Berlin, 

1S70,  p^  ^. 


Vol.  XXXV.]     Studies  in  Latin  Accent  ami  Metric.  37 

has  hitherto  been  the  case,  they  are  of  a  kind  to  baffle  the 
most  practised   investigator,  but  I  hope  to  show  that   they 
form  a  simple  and  harmonious  whole  when  studied  to-ether 
Hence  in  order  to  exhibit  the  accentual  and  metrical  peculi- 
arities of  the  pronouns  in  full,  I  shall  first  take  the  pronoun 
cited   by  Quintilian,  viz.  qudUs  or  .jualh,  and    illustrate  its 
uses  theoretically.     A  pronoun  like  qualis  occurs  as  a  pro- 
clitic chiefly  in  two  traditional  word-orders,  viz.  pronoun  -(- 
noun,  as  qnalis  lumto,  qiialcs  sciies,  and  object  or  subject  + 
verb,  as  quales  vidct,  qualis  crat  ,•  more  rarely  in  simple  e.x 
tensions  or  variations  of  the  orders  just  named.     By  sayin- 
that  qualis  is  a  proclitic  in  such  cases,  I  mean  that  it  coalesces 
in  pronunciation  and  in  accentuation  with  the  followino-  w„rd 
and  that  the  pause  which  falls  after  most  words  (and'^which 
may  be  termed  the  word-end),  very  largely  vanishes  in  the 
case  of  the  pronoun ;  in  short,  pronominal  combinations  like 
those  just  named  are  commonly  treated  in  Latin  as  quadri- 
syllable words,  and  accented  qualis-hovw,  qualcs-sccs,  quatcs- 
vtdet,   qualis-cmt.     The   consequences   that   flow   from   this 
cardinal  fact,  that  no  full  word-end  falls  after  the  Latin  pro- 
nouns and  pronominal  adverbs,  are  fivefold. 

A.  Although  the  accentuation  of  a  spondaic  word  upon 
the  ultima  is  not  permitted  in  the  critical  feet,  pronominal 
combinations  like  quaU's  saus,  quales  videt  enter  these  feet 
freely. 

B.  Although  the  accentuation  of  a  trochaic  word  upon  the 
ultmia  is  very  strictly  forbidden  in  the  critical  feet,  pronominal 
combmations  like  qualis  /wmo,  qualis  crat,  unde  vans  are 
admitted  freely. 

C.  Although  it  Is  forbidden  in  all  feet,  except  the  first  foot 
of  a  colon, 1  to  separate  by  a  word-end  the  two  shorts  com- 
posmg  the  thesis  of  a  trochaic  dactyl,  yet  dactyls  like  qudlts 
hmto,  gndlis  crdt,  undc  vniis  are  admitted  freely,  since  the 
division  of  the  two  shorts  is  for  the  most  part  only  apparent; 
cf.  the  case  of  prepositions,  as  m />r6ptcr  dmonin,  iutcristds. 

D.  The  Lachmann-Ritschl  law,  which  forbids  a  foot  to  be 

»  I  shall  use  henceforth  the  term  •  tirst  foot '  freely  of  the  first  foot  of  a  colon. 
te.  of  either  the  first  or  the  fifth  foot. 


3$ 


Robert  S.  Radford, 


[1904 


filled  by  a  dactylic  word-form,  is  waived  in  favor  of  all  the 

dactylic  pronoiliiiial  forms,  vk.  kmeeine,  isiucine,  sicine,  etc., 
iiifuSf  and  largely  also  in  favor  of  the  similarly  used  adjec- 
tival forms,  0mma,  omnibus,  omniUm, 

E.  The  initial  syllable  of  ambo,  omnis,  ccquis,  ciuSy  huiiis, 
etc.,  Jis  well  as  of  ////,  «//,  ipsi  (cf.  also  etsi,  ergo),  being 
BOW  iinaccciited,  is  freely  shorteeed  after  a  Brevis  Brevians 
(for  examples  of  this  well-known  use,  cf.  Klotz,  Gnindz.,  p. 
46  f. ;  A  hi  berg,  De  corrept.  Plant.,  p.  69  ff.). 

The  evidence  in  support  of  these  uses  will  be  presented  in 


A.  OxYTONESis  OF  SPONDAIC  Proxouns.  —  Exclusivc  of  the 
very  niimerous  cases  of  /////;//,  istiun,  ipsum  (Skutsch,  Forsch., 
p,  132  If.),  also  olim  {And,  221),  kuius  {Foe,  389),  etc.,  we  find 
In,,  tie  critical  feet  thirty-seven  examples  of  the  oxytonesis  of 
the  spondaic  and  anapestic  pronouns  kaecin  ( i ),  quant  us  (4), 
mquis^  (4),  numquis  (3),  siqnis  (4),  qnisquam  (i),  aliquis  (3), 
aiim  {2%  n/Ins,  muiins  {2\  idem  (2),  nostcr,  voster  {i\  omnis 
(4X  mmb0  {l\  perhaps  also  vobis  (2).  To  this  number  we 
should  add  eight  exanii>les  of  oxytone  pronouns  with  res, 

Hmecin:  Ad.  379  haecin[e]  flagitia,  cf.  408;  cf.  An.  746 

,fsta€i%i.  te  oritiiSne ;  As,  932  fstosci%ie  patrem  ;  —  qnantus  : 
Man.  1013  quantum  mall;  Per.  517  quantu*ni  tu ;  Cap.  51 
quanti  sunt;  Ad.   700  quantu-'^m   potest  (a  frequent  phrase 

which  Fl.  always  needs  for  the  verse-close  (eleven  times), 
except  once  (Am.  971),  hut  which  Ter.  places  more  freely); 
very  exceptional  is  Poe.  534  qua^ntum  ve^lis,  corrected  in  ed. 
eiai.  to  quantum  Yis;  —  eeqms:  Per.   108  ecquid  meministi; 

Ps,  482  ecquam  scis ;   An.    l§  ecqui'   maiorem  ;    P//or.  474 

ecquid  spei(iamb.  oct);  —  mmrnqnis:  Cnr,  516  numquid  vis; 

^  2 

Hec,  272  numquid  vis  (iamb,  sep.);  And.  235  numquid  nam 

t  4 

haec  \&th^\—siqtns:  And.  258  siqui%  nunc  m^  roget;  Ad, 
941  siquid  te  miius  oret;  Ci.  in  siquiM  tibi  opus  est;  Fp. 

1  I  assume  throughout  that  the  first  lyllabic  of  uqmM,  qmiqmid,  nequid,  num- 
quU,  siquid,  etc.,  is  long;  /&r  precisify  m  tHi  exisiime  of  nempe  is  disprmed  by 
the  non'occurrmei  tf  mmp{i)  wiik  eiisim,  w  fAe  existence  of  ecquid  is  disproved 
ty  the  non'occurreme  pfecqu(a)^  <Yf  ii(/«),  etc. 


Vol.  XXXV.]     St;^aics  in  Latin  Accent  and  Metric.  39 

449  siquM  vis.  cf.  Am.  453  ;  Terentianus  Maurus  2288  siqu.'s 
vel,-t  (.ncomplete  collection).    Only  in  the  first  foot  of  a  colo'n 
do  we  find  And.  333  s.quid  poHes ;  Poc.  1200  qu.'cquid  sapit 
-qmsquam:  An.  ;6  quicquam  meliust  mihi;  cf.  J/cr  I02.' 
neu  quisqua^m  posthac ;   cf.  V./.  346;~./i,nis:  And  957 
ahqu.s  fors[,tan]  md  putct ;  Han.  752  aliquot  dies;  cf  Ad 
509  in-aliqu6d  magnum  malum,  cf.  Rn.   575'  ,'„.aliquo*  tibi 
and,  for  examples  of  aliqu.'d  boni  (mali)  in  non-critical  feet,' 
V.  Lodge,  Lex.  PL,  p.  93  ;_.,//,,,,   Tri  458  aliud  vis;  And 
189  aliam  vitam  affert ;- „«//„..  „//,,,  p,,.  ^^^  „^,„,^  ^^^ 
est;  cf.  Cap.c^x  nullum  pen'culumst  (quadrisyllabic  word  in 
verse-close) ;   Men.  594  ullu«m  teneri  vkli ;  cf.  Ep.  497  ulla 
pec.inia;_/^^,„..  Am.   447  ide^m  sum;  cf.   808  m-eode^m 
lecto;-„„^/,-;-,.^^/^;.,yV.^;-.  609  nostcr  Chromes;  cf  Am  221 
n6s  nostras  more  (cretic);  En.  4.8  di  vcstram  fidem  :  hdmi- 
nem  (a  frequent  phrase,  which  is  elsewhere  always  utilized  for 
he  verse-close  (sixteen  times)  in  PI.  and  Ter.,  cf.  Ikugman 
'•'-  P-  30);  cf.  Ci.  550  filiani  nostram  sustollere  (quadrisyl- 
lable word);  cf.  Cap.   ij;  cf.  also  Am.  356  horu^nc  servos 
sum;-^w«„..  Eu.  1092  omne«samarent  (subject);  Mo   192 
di  deaeque  omn^s  me  pessum.'s  e.xemplis  mterf/ciant  (often 
corrected,  cf.  Mohr.  /./.,  p.  ,9);  Hau.  26  omnes  vos  c5rat6s 
V0I6;  cf.  Am.   ,013  apud  omni«s  aed.'s  sacrds  ;\dd  .;„;,/„; 
m.  .;„„..  res  {Cas.  506;  Hee.  ,94;  Ad  364;  Lucil.  XXVIII, 
10,  nee.  738;  483)  and,  in  the  case  of  other  pronouns,  tan- 
tarn  rev^iTrt.  682),  alias  res  (Hec.  826),  ipsa  re  {And  359; 
Han.  266),  etc.     A  general  or  indefinite  '  enclisis  of  res;  such 
as  ,s  sometimes  assumed  (Klotz,  Gmnd,.,  p.  324,  and  Bnr- 
Stan  s  JalnrslK,  1883,  p.  427),  seems  improbable ;-^;«^^  •  Ad 
131  ambos  curare;  cf.  Rn.  1104  hasce  amba^s  ut;  — perhaps 
//^/and  vobis:  As.  654  tibf-dab6  (double  iamb,  in  colon-close); 
cf.  Per.  847  vobis  dabo  (iamb,  sep.,  ace.  to  Ritschl,  cf.  Mohr, 
U,  p.  18,  but  anap.  oct.,  ace.  to  recent  edd.);  Per.  855  vobis 
do  (iamb.  dim.  cat.,  cf.  Mohr,  /./.,  p.  24).  ' 


I  I 


Robert  S.  Radford. 


[1904 


A  similar  oxytonesis  may  be  proved  for  the  iambic  pro- 

iifllliiliml  forms  «#iw,  €0,  meum^  meo,  tmnty  utnmi,  etc.  Thus 
tbcse  forms  arc  often  (nine  times)  found  in  the  third  foot  of  the 
senariiLs(BrugmaE, /./.,  p.lolf.),  as  Tri.  794  eas  resignatas 

siW ;  €L  568;  Tm,  85;  TrL  arg.  6\  ML  484;  Turp.  comjr. 
130;  J»/.  442(e.im  rem);  Jrii.  656  (meo);   Ba.  344  iitruni 

veliro    (an    apparent    double    iamb.,    which    Ritschl,   ProL 

ccxviii,  would  emend).  Similarly  we  find  eum  in  apparent 
double  iamb,  verse-closes,  as  Am.  991  eunvsequor ;  Men.  880 
atque  eam-meae';  perhaps  also  Naev.  trag.fr.  13  mea-manu 

I  nioriire,  where  R,^  needlessly  corrects  :  mea  moriaris  manii. 
B-.,  Oxytonesis  of  Trochaic  Peonouns.  —  We  find  in  the 
critical  feet  thirty-five  examples  of  the  oxytonesis  of  the  trochaic 
pronouns  ilk.  Hid  (8),  iiik  (4),  iste  (i),  tmde  (2),  cf.  tute, 
fmtdm  (SX  ecgmis,  §msqmis,  siquis  (13),  mstr^  {l\  omnis  ( i  ?), 

qmisqtiedy 

Examples,  in  the  critical  feet,  of  ilii  quidem  (Ba.  103 ; 
Men  540;  M&.  375;  Si.  561 ;  Pkor,  754)  and  iiiic  homo  {Ep. 

666;  3f€M.  992;  MFi.  334;  Ru.  1297)  are  cited  by  Luchs, 
Cmam,  fms.  II,  4,  and  Hinms,  VI,  279,  respectively ;  istic 
kmi0  {Ep.  488)  and  nmiims  imno  (Ba.  808)  occur  in  the  extant 
literature  only  in  the   first  foot.     Further,  the  well-known 

Latin  word-orders,  by  which  the  demonstrative  pronouns  and 

*  Ib  coiwectfop  witli  the  last  cjcample,  wfcicli  is  explained  by  the  regular  order 
of  the  proBomis  (p.  41),  I  wish  to  deny  emphatically  that  the  prec«'cl,ing  elision, 
m  In  aifmii),  jostiiies  or  explains  the  double  iamb.,  in  the  irratit)nal  manner 
assumed  by  Kkitz,  GrmttA,^  p.  245  f.  In  such  assumed  cases  the  tluulile  iaml).  is 
iustitied  only  when  «i  m^mmj^iiaSiif  wkuk/arms  pari  of  a  worU-group,  is  really  not 
ei tiled  ai  ail,  rtvfi  ill  iMem,  as  //rr.  495  cnio-ab»  ?  adcs;  Av.  290  se-amet  potest. 
These  cases  »e  them  cpiite  similar  to  the  well-known  dehortari  (Poe.  674),  de 
h6rdeo  (As,  706),  ciim  fstac  (Cm,  6l»),  om  which  v.  Klotz,  Grmulz.^  p.  I39f«. 
and  Skutsch,  Btrl.  I%il  IFo^k^  1894*  p.  139  1;  cf.  also  examples  in  I.ucilius  and 
the  Augustan  poets,  as  Hor.  5.  1,  9,  38  sf  m£-am£s;  2,  2,  28  num  adest,  etc. 
(L.  M tiller,  ^.  Jf .«  371  ff.).  Other  examples  of  the  double  iamb,  in  Klotz,  /./,  as 
/Vf.  447  (luando  amor  iubet,  «ft  probably  to  be  referred  to  some  form  of  the 
traditional  order  (subject +  «fb).— The  view  which  I  have  here  defended  against 
KU»tz  is,  as  I  have  since  notedf  allQ  the  view  of  Luchs  himself,  who  writes  of  just 
such  cases  {Studtm.  Stud.  1,  18) :  111  h»  enim  versibus  pes  paenultimus  non 
continetur  iambo,  sed  anapaesto,  quod  cinn  hiatu  semper  pronuntiandum  est :  se 
am//,  qui  ha  bet. 


Vol.  XXXV.]      Studies  in  Latin  Accent  and  Metric.  41 

adverbs  immediately  precede  possessive  pronouns  and  oblique 
cases  of  personal  pronouns  (Kampf, />;-,;;/,  vz/.A/wz/.r/.,  pp.  27 
30  ff.,35),  give  rise  to  the  accents  ille-mi/ii,  unde-tibi,  etc.;  r./ 
Ad.  139  iste  tuos;  Cas.^^i  unde*  meac ;  Ep.  179  ilki  mihi(cl 
Skutsch,  Eorseh.  136),  and  cf.  Men  451  ;  Ad  457  (fiVst  foot)- 
cf.  ^7.  r33  ille2meus(cf.  Skutsch,  /./.,  118);  cf.  also  Gr/.  461* 
ipse^  sibi.i     In   association   with   the  verb,  ille'^  rcprehendit, 
7/7.  624,   happens  not  to  fall  within    the    critical  feet,  but 
Commodianus,  who  observes  the  accent  in  the  close  of  his 
hexameters,  writes  Tnst.  I,  35,  15:  unde-^  licet  I'lle  (Hanssen 
Dissert.  Phil.  Argent.  V,  24),^  cf.  the  adverb  undelibet.     The 
developed  oxytonesis  is  seen  in   Tnt.  30Q  ille«  nieretriculis ; 
note  further  that  no  example  oi  unde  or  ///./   rcdis  (dissyllabic 
verb)  occurs  in  the  dramatists,  but  /;//./.'  red  cam  (trisyllabic 
verb)  occurs   rei)eatedly  (Tri.  937;  /:-;,.    i,  ;  j/,,  865;   Hec. 
177)'      Examples   of  oxytonesis   in    the   first   foot   are  very 
frequent,   e.g.    Cas.  432  il  rl!6  trepidabat,    Poe.  620  et  ilM 
chlamydatus  (cf.    Seyffert,  Biirsians  Jahresb.,  1894,  p.  282). 
St.  24  neque  ille  sibi  mereat  (cf.  Skutsch.   /./.,  118,  n.  2),' 
where  the  proceleusmatici,  as  usual,  follow  closely  the  gram- 
matical accent  3;  very  doubtful,  however,  is  .SV.  175  quia  ind6 
iam  a  pausillo  (cd,  miu.:   quia  inde  iam  a);    Ps.   503   illijd 
erat;  Lucil.  XXIX,  43  M.  turn  illiid  iiTi<^mvd-  doubtful  \sAs. 
123  nam   illiid  ego  (so  ed  mai.  '  ego  illud  Mss.);  Cas.  932 
inde  foras  ;  Poe.  1055  inde  sum  oriundus;  —tute  tibi  Cap.  371, 
^^-  563,  Car.  9,  hence  also  Per.  573  tute*^  tibi ;  —  for  still  other 
examples,  cf.  Ahlberg,  Be  corrept.  PL,  p.  50,  n.  i,  and  Luchs,  /./. 
Haecin  d.x\d  haecine :  Hec.  771  haecine  east;  ib.  2S2  haecine 
ego  vftam  (resulting  from  the  traditional  word-order,  which 
attaches  other  pronouns  to  the  sentence-introducing  pronouns, 

^  This  accent  fs  not,  however,  wholly  invariable,  ,.g.  Eu.  Si',  fstuc  mHii,  and  in 
the  first  foot  :/>.;..  355;  ib.2;   O.  561  unde  tjbi;  v.  oth.r  examples  in  Kampf,/./..  29. 

^  *This  maypossii.ly  be  the  true  explanation  of  the  accents  diinde,  pkrinde, 
txtnde  prescribed  l,y  the  grammarians  (Scholl,  /./..  p.  192),  /...  de'inde,  etc.;  so 
perhaps  St.  545  deiiiiHe  senex,  rather  than  deinde  senex. 

^  Hence  I  cannot  accept  the  view  of  Ahlberg,  Procel.  I,  34,  no. 


ii 


Robert  S.  Radford, 


[1904 


€f.  KSlUff,  ill,  pp.  31.  3^);  Cf.  Phor,  1013  haeci^ne  erat  ea. 
Hence  it  is  apparently  largely  due  to  accident,  or  rather  to 
the  natural  position  of  the  sentence-introducing  pronouns  in 
the  beginning  of  the  verse,  that  examples  of  this  kind  occur 

and  Ad.  128  sicfne  agis  (cf.  Wagis,  hoc-agis,  sic-agis);  Haii. 

203  bttodne  erat;  Em.  771  haiicine  ego.  Similarly  it  is  ap- 
parently accidental  that  fmncine  ego  occurs  in  PI.  only  in  anap. 
verse  {Ru.  iSS.  189)-  We  may  perhaps,  if  we  wish,  assume 
alwayt  for  Fl.  the  syncopated  forms  luucin,  etc.,  though  this 
is  going  much  beyoad  the  available  evidence  (cf.  Schrader,  /./., 
p.  10  ff.,  and  the  numerous  examples  there  cited),  but  in  any 
case  there  can  be  no  serious  objection,  on  the  score  of  accentua- 
tion, til  e«mplfis  Bke  Mo.  26  hocinemodo  (cf.  hocmodo);  27 
hocine-boni;  TrtL  7i9hici%etu  eras;  Am.  SHhoci'ne  placet; 
As.  08  hiclne  preti,  etc.  (cf.  also  Spengel  on  Ad.  183). 

Ecqnis^  nmmquis^  qmisquis^  dquis :  Foe.  364  ecquiM  ais; 
cf.  Cm.  913  and  914  nisi  quidquiM  erat;  — always  siquid 
agis:  Ep.  196;  Mi.  215;  Per.  659;  St.  715;  7^7  \  Tri.  981  ; 
—  cf.  P'k&r,  5S3  siquiM  opis;  Ait.  193  siquiM  opust;  As.  117 
siquid  opus;  Ad,  87/  CCqiiiM  ego.  Often  in  other  feet, 
especially  the  first,  as  An,  653  quicquiM  habes;  Poe,  505 
qpiccpiM  agit;  Cas.  4S6  ecquid  amas;  En.  475  numqufd 
habes;  — quicquiM  erat,  etc.:  Pen  46;  47;  ^'''-  5^ ;  1308, 
cf.  nullus  erat,  A'//.  1253  ;—lf<rif.  439  siquiM  ego;  Eu.  523 
ecquis  4m;  As.  SSf  and  il«i.  41^  sicit  ego;  cf.  ML  1206 
quo  moMo  ego.  In  short,  if  we  take  a  trisyllabic  word  (verb 
or  pronowii)  like  imni  and  a  dissyllabic  word  like  erit,  we 
shall  always  find  in  the  one  case  tlie  accent  quidquid  inerit 
{Ru.  1 1 34),  in  the  other  the  accent  quidqufd  erit  (quidquid 
erft).  This  accentuation  long  continued  m  use,  e.g.  Sen. 
Ocd.  263  quidquid  ego;  Rufinus  341  G.  quidquid  agis  (quoted 
by  Ribb.,  Com.  Frgm?  oXx)}     In  %  former  discussion  ( Tr&m. 

1  Ribb  •  accents  quite  needlessly  quidquid  pla*cct,  Caecil./r.  148;  recomposi- 
tion  is  perhaps  first  attested  fur  the  Christian  poetry,  ^^.  Et  qufdquid  micat 
sideris  (Konigsfeld,  Lat.  Hymn.  I,  32). 


Vol.  XXXV.]      Studies  in  Latin  Aecent  and  Metric. 


43 


Am.  Phil.  Assoc.  XXXIV,  84)  I  assumed  with  Ritschl  and  other 
critics  the  divisibility  of  compounds  like  ecquid  into  their 
constituent  parts,  i.e.  ec  quid  ego,  but  this  is  a  desperate 
remedy,  as  Maurenbrecher,  Hiatus,  p.  31,  n.  3,  and  Ahlberg, 
Proccl.  I,  81,  have  already  observed,  and  is  improbable  for 
the  period  of  PI.  or  Sen.  At  the  most,  the  pronunciation 
might  be  derived  from  an  earlier  formative  period,  when  the 
two  monosyllables  w^ere  still  independent,  i.e.  ec-quid-ego, 
hence  ecqui'dego ;  but  even  this  assumption  is  unnecessary, 
and  no  reason  exists  for  separating  the  treatment  of  ecquid 
and  quidquid  from  that  of  other  pronouns. 

Nostra^  omnis Q\quisquc :  St.  741  nostra*  placet;  perhaps 
Tri.  329  meumst,  omne''  meum  autem  tuomst,  —  so  Scholl  in 
ed.  mai.,  but  the  ed.  min.  retains  the  reading  of  A,  etc.,  and 
scans  meumst,  omne  meli'^mst  autcm  tuom ;  Ep.  214  suis 
quaeque®  |  amatoribus  (r^.  mai.  quacque  ibi);  so  the  phrase 
suo  quique  loco  (also  suo  quicque  loco,  St.  62  ;  cf.  Prehn, 
Pronom.  Indcf.,  p.  11)  is  always  accented  sucS  quique  loco, 
viz.  Mo.  254  (troch.2),  St.  62  (tr.^),  Poe.  11 78  (anap.^),  Titin. 
com.fr.  130  (tr.'*,  acc.  to  Miiller,  PI.  Pr.,  p.  61,  but  Ribb.^ 
scans  as  anap.,  quique  loco);  cf.  St.  693  suom  quemque^ 
decet,  and  also  Au.  732  quoi  tanta^  mala.^ 

C.  Apparent  Division  of  Trochaic  Dactyl.  —  Ex- 
clusive of  the  first  foot,  we  find  thirty-four  examples  of  a 
divided  dactyl,  such  as  quisquis  homo,  with  illic,  ille,  unde, 
inde  {io\  cf.  hasce  {2),  haccin,  sicin,  istficin,  tute  (4),  qualis^ 
omuis,  quisquis,  ecquis,  numquis,  siquis,  quisque  (18),  and 
apparently  many  more  with  huius,  eius,  quoius? 

^  In  addition  to  the  pronouns,  the  proclisis  and  oxytonesis  of  esse  (cf.  Skutsch, 
Forsch.  136,  n.  I)  and  hercle  have  been  established  in  certain  word-orders;  thus 
Ba.  S3  voles  esse*  tibi;    .SV.  716  vi'des  esse''  tibi,  and,  in  Ten,  cf.  Hec.  398  esse^: 

scio;   Au.  40  hercle  tibi;    hence  the  frequent   shortening  seen  in  these  words 

4 
after  a  Brevis  Brevians.     Also  in  the  case  of  pred.  adj.  -f  copulative  verb  pro- 
clisis has  perhaps  been  known,  viz.  Poe.  1194  pulcra  videre;   Ru.  218  serva  forem, 

6  6 

or  servS  forem  (so  B).     Some  of  the  other  cases  of  oxytone  trochees  quoted  by 

Klotz,  Gritnih.,  p.  239  ff.,  may  also  be  genuine. 

2  The  admissibility  of  the  broken  dactyl  in  general  has  been  discussed  espe- 
cially by  Muller,  Pros,  Xnchtr.,  p.  12  ff.;  Leo,  Forsch.,  p.  236  ff.;  Ahlberg,  Procel. 
I,  14  ff.;   Maurenbrecher,  Hiatus,  p.  26  ff. 


f   ■' 


Robert  5.  Radford. 


[1904 


Examples  of  ilk  quidim  (twice  within  the  verse:  Ep, 
673;  Mo.  1081)  and  Ulk  homS  (once  within  the  verse: 
Jffi.  593;   sixteen  times  in  first  foot)  are  cited  by   Luchs, 

Cmtm.  Fms.  II,  4,  and  Hermes,  VI,  278,  respectively;  cf. 
also  Skutscli,  Forsc/i.  115,  Since  the  sentence-introducing 
pronouns  are  placed  especially  in  the  verse-beginning,  it 
Is  probably  due  oely  to  accident  that  we  find  examples  of 
tic  siinilar  combinations  isU  qmidim  (Men  945 X  ^  semx 
{Men  44<5;  Si  559).  ^/'^'^^  ^^^^^  i^^^-  JO/o).  i'ccjm's  homo 
{Mo.  354);  cf.  sMm  komo  (St.  58;  442;  for  the  combina- 
tion ¥.  Asnius,  De  apfositiomis  collocat.,  p.  18)  only  in  the 
ifst  foot.  Again,  while  I  accept  with  Skutsch  the  weaken- 
ing  of  the  final  syllable  of  f/Zr,  mde  (also  of  hocin,  quid- 
quid,  etc.),  i"  sequences  where  it  is  regularly  unaccented, 
I  do  not  admit  any  need  of  this  explanation  (Skutsch, 
£4  no  f.,  Si)  in  cases  like  Bm.  281  file  mihi  (cf.  ilia 
milii,  ilM  meus,  etc.,  above);  Am.  660  i^lle  revortitur; 
Hmdi.   107  immo  \V&   fui't   senex   inportunus   (cf.    also    Ahl- 

berg,  Pm^/1  I,  no);  Cas.  903  mde  volo;  St.  6j  i%de  voca- 
tote;  Foe.  902  i%ide  surriiptus;  Per.  150  unde  surrupta, 
not  to  mention  the  numerous  cases  occurring  in  the  first 
loot,  as  iSnde  lub6t  {Ep.  144),  ille  iubebit  (Mi.  1192),  or 
Jlle  miserrumum  (il//.  713).     Even  hasce  tabellas  (Ba.  787), 

basce  coronas  (i4ii.  38s)  admit  of  some  defence ;  for,  although 

Pi  never  allows  the  particle  <e  in  these  pronouns  to  have  the 
IttI  ■iraltte  of  a  mora  and  so  to  form  the  whole  thesis  (Schmidt, 
Depronom.  demons tn  f^rm.  Pimitinis,  p.  16  ff.),  he  may  well 
have  allowed  this  particle  to  form  part  of  the  swift  thesis  of 

the  *€fclic'  dactyl;  cf.  Tri,  186  hascc  mihi  (ace.  to  A  and 

f^.  fHXil.). 

Haecim.  siein,  isiueim,  tmte:  And.   236  hocinest  officium ; 

Per.  42  si'cine  h«ic  ti;  Em.  830  istucine  interminata;    Tti, 

386  tu^te  concilies  (unnecessary  is  tut'  with  Skutsch, 
Forsch.  151);  numerous  examples  for  the  first  foot,  as 
Phor.  10 1 2  lm#cine  erint;  En.  804  sPclne  agis  (cf.  hae- 
cfne    erat,    etc.,   above,  p.   42);    Poe.    512   siWne  oportet, 


Vol.  XXXV.]     Studies  in  Latin  Accent  and  Metric, 


45 


are  quoted  by  M  tiller,  Pros.,  p.  441  ff.,  and  Schrader,  /./., 
p.  17  f.^ 

Qualis,  oninis,  qnisquis,  ecqiiis,  siquis,  quisquc :  Hec.  766 
qua^is  sim  amicus  (the  insertion,  in  accordance  with  Wack- 
ernagel's  law,  of  an  '  enclitic  '  in  the  second  position  does 
not  affect  the  connection);  Cap.  536  omnis  in  incerto;  Am. 

309  quiVjuis  homo  hue;  Ps.  713  qui-dquid  opi'ist ;  Men.  772 
sed  quicquid  id  est  (bacch.;  needlessly  corrected  in  ed.  min.)\ 

Mi.  311   qui^cquid  est;    Tri.  218  qui'dquid  audi'tum  ;  Ps.  740 

2 

e^'cquid  habet ; — ecquis  hoc  aperit  ostium  as  verse-close  :  Ba. 

•A  4 

582,  Am.  1020,  Cap.  830;  —  Ba.  581  ecquis  [his]  in  aedibust; 

Trn.  839  si^quis  eiim  ;  St.   182  si'quis  me  essum  ;  And.  258 

4 

si^'quis  nunc  me ;  An.  340  si'quid  uti' ;   Ep.  729  si^quid  impru- 

4 

dens;  As.  326  qui'Mque  derogito.  Often  in  the  first  foot,  as 
Tri.  655  and  Rn.  1100  omnia  ego  istaec ;  Ru.  1359  omnia 
ut;  /At.  287  omne  quod  ;  Rit.  1121  quiMquid  ibist ;  Ep.  677 
and  ffafi.  961  qui'dquid  ego;  Ep.  293  niimquid  ego  ibi ;  Poe. 
506  sicut  ego  hos ;  St.  576  nequid  adveniens ;  —  ccquid  agis 
Ah.  636,  Ep.  688,  Ci.  643  ;  —  (Ccquid  amas  Tni.  542,  Poe.  327; 
—  Ci.  67  si'quid  est  quod ;  Ep.  647  si'quid  erit ;  etc.^  (cf. 
Ahlberg,  /./.,  p.  80). 


^  T  have  purposely  not  quoted  examples  like  A/i.  61  hicine  Achflles;  P/ior.  992 

hicine  ut  ti'ln.     The  long  quantity  of  the  first  syllabic  of  hicine  (pronoun)  is  very 

4 
doul»tful,  and  is  not  proved,  as  Miiller,  //.,  thinks,  by  the  iamb.  sep.  Ad.  709  hie 

nrSn  amandus?  ILine  non-gestandus,  j///rt'  no  diacrens  ne:essarily  falls  after  a* 

t  4 

mmiosyflahli^  as  I  shall  show  more  fully   elsewhere.      On  the  i  ther  hand,  the 

quantity  in  hdeine^  kmeinet  s'cine  is  often  attested. 

■-'  Among  other  cases  of  the  broken  dactyl  whi  :h  appear  to  be  justified  by  the 

regular  word-order,  I  wnuld  specify  the  following:   i)  the  phrases  composed  of  a 

pred.  alj.  -f  incedo,  like  Mi.  897  ornatus  incedit  (also  As.  405;  Ba.  1069;    A/er. 

600;  Poe.$Tj)  ;  cf.  Mcr.  887  ami'cus  advenio.   This  combination  has  the  same  value 

as  adv.  or  adj.  +  copula,  as  Poe.  922  intus-ero  odio;  cf.  also  Cap.  321  unicus-sdm. 

2)  Common  alliterative  phrases,  or  coml)inations  of  related  words,  viz.  Ps.  704 

trma  triplicia;   Mer.  385  ami'cus  amfcis,  similarly  J//.  660;   Pomponius /;-.  145; 

cf,  also  Pa.  401  commodiis  I'ncommodds.     Cf.  the  not  very  different  view  which 

Leo  takes  of  these  combinations,  Forsch,^  p.  244,  and  observe  that  in  etymological 

phrases  like  amicus  amicis  tJie  order  is  fixed,  i.e.  *  nominativus  casus  obliquos 

praecedit '  (Kellerhoff,  Student.  Stud.  II,  58  f.).     3)   Perhaps  adj.  or  gen.  +  noun, 

viz.  Men.  268  magnus  amator  (P;  A  mag.) ;  Accius  fr.  501  horrida  honestitudo; 


46 


Robert  S.  Radford, 


[1904 


HuiMSp  eimSf  ^Mifius:  These  forms,  instead  of  being  always 
taken  m^  mmkmjlUhm^.  ov^t  probably  often,  to  receive  their 
regular  scansion  as  dissyllables  in  the  very  numerous  cases 
like  Cap.  887  quo'^ius  erat  tunc ;  Si,  545  quo'^ius  erat  tibicina ; 
Rii,  52  ^ius  erant;  1204  ^ius  amatiost;  see  the  examples  col- 

iected  by  Ahlberg  (De  correpL  PL,  pp.  84-90),  whose  conclu- 
sions probably  require  some  modification  at  this  point.^ 

D.  Admission  or  Dactylic  Pronominal  Forms. —  Ex- 
clttsive  of  tic  irat  foot,  mt,  ind  about  twenty-nine  examples 
of  a  foot  illcd  by  tie  dactylic  pronominal  forms  haccine, 
isfaecme,  iiiaecim  (7),  illius  (20),  omnia,  omnibus  (2). 

Haecine,  istaecine^  iliaccine:  Foe.  11 66  haccine  meae  sunt; 

Ms*%l  istdcine  picto;  847  ista^cine  caiisa;  Rti.  no  isticine 
v&;  Tru,  $37  ho^cine  mfhi;  606  istiicine  mihi;  //a/s.  751 
illancine  mulierera.     The  examples  quoted  above  (p.  44)  of 

Mmm,  etc.,  with  elision,  i.e.  IwScinesI  officium,  show  clearly 
tiat  tie  pfobleni  presented  by  Mctm^  without  elision  is  not 
solved  by  the  assumption  which  is  sometimes  made  (Klotz, 
Grftfids,,  p.  308;  Ahlberg,  Procei.  I,  20,  112),  that  the  final 
syllabic  of  this  form  was  always  syncopated  in  pronunciation ; 
besides,  tils  assimiftion  of  constant  syncope  after  a  short 
vowel  appears  to  be  unwarranted  (Schrader,  /./.,  ro,  14).  For 
the  freciuent  occurrence  of  haccine  and  similar  forms  in  the 
irst  foot,  see  Scirader,  /./.,  la 

JiMm^i  Matt*  JlSfllius  inimum;  Ad.  261  illius  6pera;  722 
fllius  adulcscentis ;  572  iUIius  hominis,  and  more  generally 

Inn.  Ir. /r.  40  virginalis  modestia;  Amf.  857  tri'stis  severitas;  As.  509  maHris 
imperium;  Si.  43a  fritris  ancillulam.  In  most  of  the  common  phrases  so  far 
€|iote4  the  elision  of  final  s  before  an  initial  vowel,  which  Leo  advocates  {Forsck, 
229  ft.),  may  also  afford  an  explanation*  4)  Iii|  +  auxiliary  verb.  viz.  A.  ltS2 
frelicebit  (cf.  ilicet);  A'm.  112  esse  decet;  Ep.  573  ferre  iubcs.  Cf.  esse-vuli 
used  as  equivalent  of  a  trisyllabic  word  in  verse-close  not  only  often  in  PI,  but 
abo  in  Syr.  Sent.  A  51,  and  dare-vis  placed  in  the  pentameter-close  by  so  perfect 
a  master  of  technique  as  Martial  (7,  75,  2);  cf.  also  dare-nhcit,  Syr.  Sent.  46,  the 

i.tily  divided  anapest,  accordinf  to  M«yer,  ill,  jk  a||  irlilcli  Publilius  admits  in 
the  third  foot. 

1  The  view  that  huius^  etus,  etc.,  may  also  be  pyrrhics,  advocated,  so  far  as  I 
know,  only  by  Exon.  Hermatfuna^  XI,  208  ff.,  does  not  seem  probable. 


Vol.  XXXV.]      Studies  in  Latin  Accent  and  Metric. 


47 


Ep.  717  i^llius  invenisse;  447  illius  illae ;  for  other  examples. 

3  ^ 

see  Leo,  /./.,  290  ff.,  Ritschl,  Opusc.  II,  67S  ff.,  and  Ahlberg, 

De  corrcpt.  PL,  p.  91  ff.  The  proclisis  of  ilk  is,  in  fact,  so 
far  developed  that  there  is  no  diaeresis  in  the  iamb,  sep.,  Mi. 
1 23 1  qiiiroquam  illiun-multae  sibi  expetessunt,  and  this  is  the 
real  explanation  of  this  much-cliscussed  verse.  The  scansion 
illius  which  I  have  here  assumed  has  been  successfully  vin- 
dicated for  PL,  in  my  judgement,  by  Ritschl  and  Leo,i  although 
the  scansion  ill'is  must  also  be  admitted  for  a  few  examples 
like  Phor.  648  mi'ttam  illius  ineptias.  -  Omnia,  omnibus,  om- 
nium: Tru.  447  omnia  qui;  Am.  55  omnibus  isdem.  Often 
in  the  first  foot,  viz.  Mi.  1 148  ;  Poe.  834  ;  905  ;  St.  1 14  ;  336 ; 
526;  684;  7>'i.  933;  Hcc.  380;  Ad.  971.  Several  of  these 
examples  are  of  the  type  omnia  genera  {Poe.  834) ;  in  the 
case  of  dissyllabic  words,  however,  accents  like  omnia  mea 
{Han.  575 ;  Phor.  248),  omnia  bona  {Han.  942)  possibly 
correspond  sometimes  to  the  actual  pronunciation. 

While  proclitic  tendencies  exist  in  all  the  pronouns,  they 
have  not  necessarily  been  developed  in  all  to  the  same  extent. 
The  proclisis  is  most  nearly  complete  in  ilU\  iste,  ipse,  and  an 
accent  illes/nex,  istuc-dgo  is  probably  nearly  as  exceptional  as 
altrims^cus  (Ps.  357)  or  amabilis  (St.  737);  thus  illic  homo 
occurs  twice  {Ep.  45  =  troch.«;  671  =  troch.^)  against  twenty- 
four  cases  of  illic  homo  and  illic  homo.  PL  and  Ter.  have 
only  istuC'agd,—t\Y\CQ  within  the  verse  {Tri.  819;  Eu.  349), 
four  times  in  verse-close  {As.  358;  Ba.  708;  Man.  346;  558); 
scid  is  as  frequent  in  the  dramatists  as  scio,  yet  we  find  only 
once  tantundem  scid  {Per.  517)  against  eight  cases  of  ilium- 
scio,  illuc-scio,  etc.  {Am.  922  ;  Jl/eu.  246;  Per.  161  ;  Poe.  1028 ; 
As.  869;  Mi.  236;  IVu.  811  ;  St.  474).  Many  combinations, 
however,  vary,  cf.  Eu.  536  I'stuc  ita,  and  while  PL  regularly 
accents  tut/ .  tibi  (four  times;  on  the  order,  cf.  Seyffert, 
Phtlol.  XXV,  459  f.),  tute  ti^bi  seems  the  correct  scansion  in 
" ^en.  II I b. 

We  have  seen  in  this  investigation  that  the  proclisis  and 


1  Against  Luchs,  Studem.  Stud.  I,  319  ff. 


4'0 


Robert  S.  Radford. 


[1904 


oxytonesis  of  the  pronouns  as  a  class,  which  the  ancient 
grammarians  strongly  attest,  is  confirmed  in  every  possible 

way  % ■  the'  eiiience  of  dramatic  ¥ers€/  and  we  have  found 
at  tie  same  time,  as  I  hope,  an  explanation  for  several 
phenomena  of  the  verse  which  have  hitherto  remained 
imexplained.  Since  the  study  of  the  pronouns  is  the  main 
object  of  this  paper,  my  treatment  of  the  topics  which 
remain  will  be  brief. 

IV.   Accent  of  Adjectives. 

Although  the  L-Eur.  word-order,  adjective  or  genitive  4- 

substaEtive,  is  very  imperfectly  preserved  in  Latin,  we  might, 
perhaps,  expect  to  find  that  it  had  exerted  some  influence 
upon  the  Latin  accent  The  critical  feet  offer,  however,  very 
few  direct  evidences  of  recession  at  this  point,  and  we  find 
Iianify  more  than  half-a-dozen  certain  examples  of  a  recessive 
accent  like  recti  via  in  the  critical  feet  Yet  the  rare  occur- 
rence of  such  an  accent  may  be  exi)lained  as  due  in  part  to 
the  structure  of  the  verse.  Thus,  to  take  illustrations  from 
th$'  .siructii're  of  the  scnarins,  tie  combination  of  spondee 
and  iambus  which  is  found  in  recta  via,  needs,  as  a  rule,  to 
be  utilized  for  the  verse-close,  and  this  fact  of  itself  would 
largely  prevent  its  occurrence  in  the  critical  feet.  Again, 
the  combination  cannot  be  placed  without  elision  in  the 
second  foot,  since  it  would  then  produce  an  inadmissible  con- 
flict in  the  third,  i.r.  rectd  via,  nor  can  it  be  placed  without 

elisioB  in  the  fourth,  since  it  would  then  introduce  an  iambus 
into  the  ifth  foot,  i^e,  recid'vid;  it  follows  that  it  can,  as  a 

rule,  be  placed  only  in  the  third  foot,  and  we  find  in  fact 

1  The  procHsk  of  the  clcmoiistrattve  and  relative  pronouns  in  Latin,  Umbrian, 
and  Oscan  is  also  indicated  at  times  by  the  orthography  of  the  Inscrr.,  viz.  mmrim, 
eare,  eaires^  Ammmertm  (Corssen,  II,  879),  eajiveka  (lat.  eas  iuvencas),  erer- 
nomneper  (pro  dill  nomine),  pamncemto  (quae  incensa),  cf.  Corssen,  II,  919  ; 
V.  Planta,  I,  599.  For  ih*  conjunctions  also  proclisis  is  in. Heated  in  Umbrian  hy 
writing  ape  (=  Lat.  mbiy  in  m*aninj^),  and  /»««•,  I.at.  -cum/e,  at  times  uith  the 
fallowing  word,  as  apepesomira,  cf.  Corssen,  ibid.  Especially  oflen  is  the  proclisis 
of  the  pronouns  indicated  in  connection  with  modus,  e.g.  huiusmodi,  huiuscemodiy 
eiusmodi,  etc.;  for  fuodammodo,  omnimodo,  {nullomodo,)  v.  the  lexicons,  and  fof 
ullomodo,  V.  Cod.  Bern,  ^i,  Keil,  SuppL  180,  9. 


Vol.  xxxv.J      Studies  in  Latin  Accent  and  Metric.  49 

several  examples  of  its  use  in  this  place,  viz.  Hcc  177  prinios 
dies;  Han.  61  pro  deum  atque  hominiim  fideni ;  cf.  Jri.  425 
mille  drachumarum  (numeral).  In  addition:  Syr.  Sent.  388 
non  est  turpis  cicatrix;  Am.  481  decumo  post  mense  •  Hec. 
198  pro  doum  atque  hominum  fidem(oct.j;  /:>.  249  hominu^m 
me  vis;  cf.  Ba.g68  uno  mendacio  (oct.);  cf.  P/u?r.  867  sus- 
penso2  gradu.  Cases  of  adj.  +  quadrisyllabic  noun  in  the 
verse-close,  as  //ec.  462  una^  sententia ;  Am.  840  sedatu^m 
cupidinem;  841  cognatu^m  concordiam  ;  As.  298,  — are  in- 
conclusive. 

That  the  non-occurrence  of  the  type  is  partly  due  to  the 
verse-structure  seems  confirmed  by  the  notable  fact  that  the 
accent  trigintd-minas,  etc.  (numeral -f  noun),  which  is  at- 
tested by  nearly  all  the  Romance  languages,  also  does  not 
occur  a  single  time  in  the  definitely  critical  feet,i  and  we 
find  only  one  example  in  these  feet  of  the  quantitati\-e  type 
fratrJm-maim  (And.  540  gnat'm  tuam  et;  cf.  Rn.  1341),  al- 
though the  occasional  existence  of  this  accent  seems  indicated 
by  verse-closes  Vikcpa/nm-hu-'im  ( JAv/.  750;  Mcr.  972  ;  Titin. 
//'.  65  ;  Asin.  64).  Very  serious  difficulties,  however,  still 
remain ;  for  the  combination  of  iambic  or  cretic  adjective  -h 
noun,  i.e.  mald-manu,  dcxtcrd-manu,  is  always  avoided  in  the 
verse-close,  and  we  find  instead  dextera  retinens  manu,  Cap. 
4i2,  and  the  fllce;  the  only  exception  is  the  phrase  l?ond(n) 
fidd  Tru,  586;  Mo.  670  (v.  Luchs,  Studem.  Stud.  I,  21,  and 
Kohler,  /./.,  31).  We  must  conclude  then  upon  the  whole 
that,  in  the  case  of  adjective  combinations,  there  is  no  suflfi- 
cient  evidence  for  the  existence  of  an  accent  maid  manu, 
except  in  the  case  of  a  few  special  phrases. 

V.    Relation  of  Word  and  Verse-accent. 

The  results  reached  in  the  preceding  study  afford  a  fresh 
proof  of  the  frequent  agreement  which  exists  between  word 
and  verse-accent  in  the  verse  of  Plautus.      It  is  important, 

'  All  the  examples  cited  by  Skutsch,  Forsch.  163,  involve  the  second  arsis  of 
the  septinarius. 


5© 


Robert  S.  Radford. 


[1904 


Vol.  XXXV.]     Studies  in  Latin  Accent  and  Metric. 


51 


however,  not  to  exaggerate  the  extent  of  this  agreement  and 
not  to  misinterpret  its  meaning.  Thus  at  the  present  day 
we  sometinies  hear  the  belief  confidently  expressed  that  a 
complete  or  almost  complete  agreement  of  word  and  verse^ 
accent  will  eventually  be  proved  for  Latin  dramatic  verse, 
and  further,  that  all  those  kinds  of  verse  which,  like  the 
dactylic  hexameter,  show  serious  disagreement,  are  artificial 
verse-forms  m  Latin.  Such  extreme  views  have  little  or  no 
basis  in  fact,  lor  both  the  agreement  between  word  and  verse- 
accent  in  Plautus  is  far  from  being  complete  on  any  scientific 
hypothesis,  and  the  quantitative  poetry  of  the  Romans  is  a 
thoroughly  genuine  and  national  product. 

Importance  of  Quantity.     Problem   of   Ictus.  — It  is 
difficult  for  the  modern  student  — who  has  rarely,  if  ever, 
heard  an  exact  quantitative  pronunciation  —  to   understand 
the   aniquc   importance  which  attaches   to   quantity  in   the 
pronunciation  of  the  classical  languages;  and  this  general 
difficulty  is  vastly  increased,  so  far  as  concerns  the  pronunci- 
ation of  Latin,  by  the  numerous  special  problems  which  Latin 
here  presents.     Hence  many  scholars  have  sought  an  escape 
from  this  diiictilty  by  supposing  that  a  strict  observance  of 
quantity  formed  no  part  of  the  original  Latin  language,  but 
was  adopted  later  by  the  educated  Romans  in  consequence 
of  Greek  influence.     The  actual  predominance  of  quantity, 
however,  in  the  genuine  Roman  pronunciation  —  or,  at  loast, 
in  some  widely   prevalent  form   of  this  pronunciation  —  is 
indisputable.     Not  only  has   Latin   inherited   its  system  of 
ilttaiititf  from  I.-Eur,  in  an  essentially  unchanged  form  (Ber- 
gaigne  et  Henry,  Manuel  Vidique,  p.  38),  but  under  certain 
conditions  Latin  quantity  is  invariably  accompanied  by  an 
important  secondary  product,  viz.  intensity ;  for  any  regular 
alternation  of  long  and  short  syllables  in  Latin  prose  or  verse, 
provided:  aciftf ill  fnwciation  of  the  quantities  be  employed, 
produces  nminralfy  *  a  rhythmic  beat  or  ictus  {impressia,  Cic. 

I  The  same  view  is  taken  by  Venclryes,  Vintemite  initiate^  Paris,  1902,  p.  65, 

ma<l.  accoriiiiif  to  V.,  by  Mcllkt,  who  writes  "par  suite  de  la  pronunciation 
fi#^rr//#  del  mots**;  cf.  also  Uppgrcm,  il/r/riWir  Komposiiion  J.  7V/-f«s,  Lund, 

1901, 107  C 


de  Or.  Ill,  48,  lSS\  pejriissicy,  ib.  Ill,  186;  quasi  pulsus, 
Quintil.  IX,  4,  136),  which  approaches  the  value  of  a  stress- 
accent,^  or,  to  state  the  fact  more  briefly,  variations  in  quantity 

1  In  connection  w  ith  Professor  Bennett's  attempt  to  show  that  '  ictus '  was  not 
identihed  with  eUvatio  voeis  'before  the  tifth  century'  (././/•.  XIX,  368  ft'.;   cf. 
also  Veiidryej*, /./.,  66),  I  cannot  refrain  from  callin<j  attention  to  a  iiuestion  of 
chronology  involved  in  this  claim.     To  obtain  such  a  result,  it  is  not  onlv  neces- 
sary to  explain  away  many  early  testimonies,  hut  also  to  assijjn  a  very  late  date 
to  Terentianus  Maurus,  who  says  very  clearly  with  respect  to  arsis  and  thesis,  v. 
'345=  P^'"'^  "^"^  attollit  sonorem,  parte  reli(iua  deprimit;  v.  2249:  (iicccsse  est) 
scandendo  et  illic  {sc.  in  secundo  IccoJ  puncre  adsuetani  nioram  (T.  is  discussing 
the  principal  ictuses  of  the  trimeter).     Whde    IVs  date  is  not  certaiidy  known, 
accordinjr  to  the  judgment  of  all  the  best   recent  authorities  he  is  ])r(.i)al)ly  to  be 
assigned  to  the  close  of  the  j^^ow^/ century  (SchuU/,  //,;  w,,,  XXII,  275  f.;   W  crth, 
JahrlK  Sp.   XXIII,  2^5   ff.,  and  preface  to  dissertalicn,  Leii)/ig,   1S96;   Teuffel- 
Schvvabe,  i\'6m.  Lit.  11,945;    Schan^,  horn.  Lit.  Ill,  26);   in  a.l.lition,  his  state- 
ments are  usually  drawn  from  good  early  sources.     In  ( irct  k  als..,  references  to  the 
existence  of  a  metrical  ictus  are  not  so  rare  as  Professor  Ooodell  appears  to  think 
in  his  recent  book  {Greek  Metric^  156  ff.).     Thus,  besides  Christ's  examples  of 
Kpouttv    {iMttr.f   p.    50)    and   the   freqiieet  marking   of   the  crriyfiai  in  musical 
schemes  (Gleditsch\  p.  322),  Plutarch,  Dew.  20,  describes  I'hilip  after  the  l)attle 
of  1  haeronea  reciting  the  tetrameter  verse  Arj/jxxrO^vijs  \en6(rd^vovs,  kt\.,  dividing 
it  into  feet  and  beating  time  to  it  (rrpds  ir65a  biaipwv  nai  vTroKpovuu);   the  author, 
w€pi  IVoi's,  c.  41,  2,  states  that  the  rhythmical  clausulae  of  the  orators  often  have 
the  effect  of  dance-music  upon  their  auditors,  who  sometimes  cannot  refrain  from 
staiiii»ing  their  feet  in  time  with  the  s[>eaker  (uvoKpoveiv  rots   \4yov(ri.  kuI  .  .  . 
TpoairodiSouai  ttjv  ^dffiv).     Similarly  an  ictus  in  the  oratorical  cola  ami  clausulae 
is  constantly  affirmed  by  the  ancients  (Cic.  </t'  Or.   Ill,  47,  182;    Or.  18,^9;   cf. 
(Juintil.  IX,  4,  31),  and  is  assumed  by  all  modern  writers  in  this  lield.  "To'the 
ancient  testimonies  upon  the  verte-accent  cited  by  Ilendrickson,  .]././'.  XX,  198, 
a<ld  the  very  late  Vergilius  Grammat.  Fac,  K.,  Suppl.,  190,  12,  who  mentions  an 
.iccent  r^^« 'secundum  rationem  metrorum.'     At  times  the  ancients  do  not  ajv 
pear  to  distinguish  shari)ly  between  word  and  verse-accent,  cf.  Auson.  Ep.  XXII, 
47;  Cassiodor.  Var.  9,  21,  3,  and  the  striking  use  of  Tiivo%  in  Cireek  to  denote  ' 
iKith  word-accent  and    rhythmical    cadence.     Hence  I   am   disposed   to  justify, 
again$t  the  objections  cf  Crusius,  /.///.  (  rntralhL  1891,  7,  213,  the  use  which  Klotz, 
iiritmiiz.  269,  348,  makes  of  Dionysius'  avWaSr}  S^vtovos  {de  Com  p.  Verb.,  c.  1 1)  in 
iiuestions  relating  to  the  ictu^,  and  even  suggest  for  comparison  in  part  Dionysius' 
other  statement  {ite  Adniir.  Vi  Dem.  c.  48),  that  Demosthenes  has  produced  won- 
•lerful  'melody'  through  the  arrangement  of 'sharps'  and  'graves'  in  his  cola. 
Since  the  ictus,  in  all  poetical  recitation,  largely  takes  the  place  of  the  tone,  such 
a  lack  of  distinction,  though  inexact,  is  not  wholly  unnatural.     Similarly,  in  his 
•hscussion   of  volilcres   (I,    5,    28),   Quintilian    perhaps   employs    syllaba   acuta 
'inexactly'  of  the  ictus  ;   such/St  lea.st  is  the  view  of  some  metricians  (^^/llavet, 
Mttr.^  §  49'  ;   Scholl,  De  acL,  p.  26\  although  the  passage  seems  t<j  m/to  admit 

jjtf.  Humphreys,  Trans.  Am.  Phil.  Assoc.Alllj   109). 


of  another  interpretation 


f^^^,       if^    /V4>  A»I   Aa  6itL*il 


fU 


u     — ^  7? 


52 


Robert  S.  Radford. 


[1904 


Vol.  XXXV.]      Studies  in  Latin  Accent  aftd  Metric. 


53 


litii 


I 


naturally  produce  variations  in  intensity.     Hence  Latin  pos- 
sesses, in  all  carefully  enunciated  quantitative  sequences;  a 

aaliiral  scries  of  stress  accents,  and  this  series  assumes  many 

Cf.  alio  Ciissiwior.   Var.  2,  40:    natoralis  rhythmus  animatae  voci  cognoscitur 
itlribtttw :  c|ttt  tunc  mths  pukhre  custodit,  $i  apte  taceat,  conuruenter  loquatur 
el  per  m€€eMtm  viam  musicB  ixclibus  composita  voce  gradiatur ;  where  taceat  and 
hqmmimr  are  doubtless  to  be  explaiiied  from  Aiist.  Q.  de  Aim.,  p.  31,  17  M. 
Iiwiir  Rui  #rf»iPt  if^oif  Kai  ifp€fuap.     III  a Jdition  to  the  pa.ssages  usually  (ju  jtetJ, 
a  clear  teslimony  upon  the  rhythmical  accent  in  prose  and  verse  is  founl  in  Sen., 
i/f  Bret'.  Fii.  12:  <niid  illi  qui  in  conponemttis,  a«dien<iis,  diccndis  canlicis  uperati 
sunt :  dam  vocem  caias  rectain  curwin  naiara  et  optimum  et  simplicissimum 
fecit  infiexu  piodulationk  inertissiinac  torquent  ?    quorum  digiti   alitjuo.l  intra 
se  carmen  mclicnte*  semper  sonant,     qaofum,  cum  ad  res  scrias  adhibiti  sunt, 
exaudita  tacita  moJulatio.    That  the  interpretaii.m  of  Diotiysius  given  al>ove  is 
correct,  and  that  he  refers  lo  the  *  fcttts  Vin  the  Uemoslhenic  melodies,  ai»i>ears 
tO'  be  coiififmcd  by  the  very  similar  passages  in  which  Lucian  speaks  of  •  the  fieai 
and  Mtemimil  mJody  ollhe  Demosthenic  rhythms'  *the  /w/of  the  Demosthenic 
periods,' viJ!.  />#«.  ^mmm..  32  d  S*  *Atti«oI  {nfjTopet  TratSta  napaiidWeiv  ry  tovtov 
(m.  Anfme0ivovt)  icpdT«»  Kttl  t6v«ji  xai  X^^£wi/ cjJpuM^  ;  i^'-  '5   ^^^^^9^  5^  «  KpoTOs 
Twr  AfifimBtPm&p  Wymif  <lir%«i'  itpalvtro  tov  WKrepiKov    Xvxvov-     Cf.  AnikoL 
Fiammi.  226,  5  4|*#i  «^  <toI  puenioio  Kara  Kporov  (vdeov  Tx^js  py\<Tai(Td(a  (descrip- 
tion of  a  'Song  accompanied  by  the  pipe);  acj'ording,  to  l»assow's  Lex.  Kporos  u 
here**der  Klang  eincr  Rede,  eiiies  Ge*ang;s";  in  oratory,  rb  ^irCKporov  tCcv 
XA^wf  is  very  aptly  descril>ed  by  Herodes  Alticua  in  rhiU>str.  539  Boiss.    Some- 
what late  is  the  aw  of  latipoKporos,  •  iaml>ic-beaten,'  in  the  meanhtg  •  iamliio,* 
•in  iambic  rhythm,'  vii.  Niceph,  in  Wak,  RhtM,  i,  443  {Idfi^oKpdrois  Uyo-.^  etprtKtv, 
•in  iaml>ic  verses*);  Planad.  ik  5,  450  {&  pvfffids  ianu  6  Toidt  fjxoi  roO  Uyov, 
iaft4i6KpoTm  t^bp  #  iXtyetm).    So  far  as  concerns  the  relation  of  word  and  verse- 
accent,  this  relation  in  latin  is  undoubtedly  largely  one  of  similarity  in  kind ; 
cf.  Schiill,  Z>ir  <«¥.,  «3.    This  fact  is  not  only  clear  from  the  statement  of  Anni- 
aniis  ap.  Gcllius  VI,  7,  4,  and  other  similar  passages  named  above,  but  is  made 
evea  more  obvioas  by  the  frequent  employment  of  precisely  the  same  terms 
itt  reference  to  both,  viz.  mmMarit  mmiuiaiio,  modermrt^  flectere^  etc.    Thus  in 
the  well-known  passage  Cic,  Or,  i8»  58  mmimhri  is  em[>h»yed  of  the  word-accent : 
ipsa  natura,  qaasi  meduiareimr  homlnum  orationem,  in  omni  verbo  jwsuit  acutam 
vocem  ;  ct  Mart.  Cap.  111*  p.  65,  19  Eyss.     On  the  other  hand  Quintilian  (I,  10, 

,   jt^  22)  employs  m&duiM^  of  the  «beat'  which  accompanies  rhythm:  jtvBp^t  .  .  . 

I  moiiulaihne  constat,  and  shortly  afterwards  (25)  explains  the  meaning  of  mtniiP- 
^^^^iatio  more  deJinitely  l)y  the  terms  imienim  zmis,  remiissm^  ^xm  (c£  Hendrickson, 
.-/,/./'.  XX,  206).  lioth  uses  are  found  together  in  Victorinus  VI,  206,  12  K.: 
met  rum  est  ratio  cam  mpdmlaiime,  rhythmus  sine  ratione  metrica  modit/aiio, 
plerumcjue  tamen  invenies  rationem  metricam  in  rhythmo,  non  ariiticii  oliserva- 
tione  servata,  icd  mm  et  ipsa  m^duiatimi  ducente.  Similarly  Gellius  (XIII,  6,  i) 
uses  moderamenta  of  the  word-accents,  bat  Caesius  Bassus  (ap.  Rufin.  VI,  555  K.) 
moderare  of  the  verse-accent :  nisi  percussione  ita  moderaveris.  Again,  fiecten^ 
ftxuh  ttc.,  aw  constantly  employed  of,  the  ictus  (^e.g.  Quintil.  1, 8,  i  quo  flew  . . . 


I  c 


>' 


/different  forms  corresponding  with  the  various  forms  of  metre 
employed.  So  much  is  perfectly  clear,  but  since  the  Latin 
word-accent  appears  to  have  possessed  from  an  early  time 
an  element  of  intensity  (probably  varying  greatly  in  strength 
according  to  the  qtiantitative  relations,  i.e.  moderately  strong 
inccil{t)d.'is,  weak  in  urbani ;  cf.  L.  Miiller,  R.Ml^  468),  it  is 
evident  that,  unless  we  are  able  to  explain  away  the  internal 
evidence  which  the  language  affords  in  favor  of  an  accent  of 
intensity,  we  must  admit  the  eidstence  in  Latin  of  a  second 
series  of  quasi-stress  accents. 

SoNG-iJKE  Recitation  of  Ancient  Poetry.  Effect  upon 
Quantity  and  Word-accent. — The  difficult  problem  pre- 
sented by  the  conflict  wi|ich  often  arises  in  Latin  poetry 
between  these  two  series  of  accents  has  given  rise  to  many 
discussions.  Instead  of  attempting  in  this  place  a  general 
treatment  of  the  subject  in  the  usual  way,  I  wish  to  limit  my 
inquiry  to  several  definite  and  special  questions,  viz.  What 
was  the  form  of  delivery  adopted  by  the  ancients  in  the  reci- 
tation of  their  poetry }  What  was  the  probable  effect  of  this 
delivery  both  upon  the  quantities  and  upon  the  word-accents.** 
Although  the  Greek  word-accent  was,  down  to  the  beginning 
of  our  era,  primarily  a  musical  accent,  and  although  its  rela- 
tion to  the  rhythmic  accent  has  often  been  discussed  in  a 
general  way  (r.^<^.  WestphaF,  III,  31  f.;  Christ^,  55;  Gleditsch^, 
81  f.),  I  shall,  for  obvious  reasons,  include  the  recitation  of 
Greek  poetry  in  the  present  discussion,  and  make  free  use  of 
the  statements  of  Greek  writers.  The  whole  subject  may  be 
treated  under  two  principal  heads  : 

I.  Character  of  Poetical  Recitation.  —  In  that  part  of  their 
poetry  which  was  sung,  the  Greeks,  according  to  the  well- 

dicendum),  but  Diomedes  (T,  456,  18  K.)  observes  that  whenever  the  inflections 
ijlcxus)  t>f  the  voice  come  into  play,  the  •  accents '  come  into  play :  tenor  in 
ftexibus  vocis  servatulus  est';  nam  quaedam  acuto  tenore  .  .  .  desiderant  enun- 
tiari.  With  reference  to  (Ireek  usage,  one  must  speak  with  extreme  caution,  and 
there  is  no  express  identification  of  the  oxytone  syllable  with  ictus  to  be  found 
earlier  than  the  mediaeval  fraL^nnents  of  Pletho  (fifteenth  century);  yet,  as  we 
have  seen,  Lucian  joins  Kphro%  and  t^ws,  and  a  certain  degree  of  similarity  is 
indicated  even  for  the  classical  period  by  the  twofold  use  of  t6tos  already 
mentioned.    See  further,  AJ.P.  XXV,  420  (421),  n.  5, 


Robert  S,  Radford. 


[1904 


Vol.  XXXV. J      Stitdiis  in  Latin  Accent  and  Metric. 


55 


IcBowii  stJUement  of  Dionysius  Hal  (^^^  Comp,  Verb,,  c.  11), 
subordinated  the  usual  proiittuciatbn  to  the  melody,  and 
entirely  disregarded  the  word-accent.^  This  statement  is 
cumiiioely  thought  to  apply  exclusively  to  song,  and  to  have 

B0  tearing  upon  the  poetry  which  was  spoken  or  declamied; 
but  such  a  view  can  scarcely  be  correct,  since  all  poetry  was. 
in  a  certain  sense,  sung  among  the  ancients,  and  *  declama- 
tion' appears  to  have  differed  in  degree,  and  not  in  kind, 
fforo  '  song/  This  fact  is  often  overlooked,  and  has  scarcely 
received  from  metricians  the  .attention  which  it  deserves ;  for 
while  the  technical  employment  of  song,  recitative  and  decla- 
mation  in  the  delivery  of  ancient  poetry  has  often  been  care- 
fully  discussed/'  one  will  seek  in  vain  in  our  standard  metrical 
works  for  any  account  of  the  real  character  of  ancient  'decla- 
mation';  valuable  notices  of  the  subject  are  to  be  found, 
however,  in  several  works  of  a  more  general  character,  viz. 
Friedlander,  Sitteugesch.  l\V\  337  U  Teuffcl-Schwabe,  Roman 
lit.   I,  I  34*  3;   Grasberger,  Erziehung   u.    Unterncht  im 

1  Cf.  the  descriptioB  wWcli  Ileliodorus  (3,  3)  B'^«s  ^^  ^"^^  rendering  «f  a 
meWy :  tm^m  W  n  I^M«f««  ^m%^  rm%  x^poiu  icai  oJJru,  avt.(iaiyw.  6  krotos 
rm  ^fmro^  irpds  rd  liAot  #^pi-<?Mi*T<»i  ^^  '^r\.;  cf.  3.  2.  There  is  evidently  no 
fetenliow  of  the  word-accent  here.  On  the  other  hand  .Schiill,  /}e  n-tT.,  p.  18, 
wholly  misapplies  the  very  iaie  scholiast  on  Dionys.  Thrax ,  p.  830  IJk.,  m  his 
attempt  to  prove  that  the  Creek  accent  w«i  sometimes  observed  in  song.  The 
Kholiast  bch>Bgs.  to  a  time  when  short  syllables  were  lengthened  by  the  word- 
accent  (e^.  attXoF  ifip\  and  when,  as  he  himself  says,  musical  notes  {Kpovaaara) 
and  wofd-accents  were  often  ma  le  to  agree.  For  the  earliest  examples  of  this 
tendency,  v.  M«iifO^,.  if&des'  #/  Cnei  Mmie^  p.  90. 

'  E^.  W.  Christ,  £Mg  .fymiaMUfff  im  p-,  u.  r'Sm.  Drama,  Miinch.  1875; 
M./nr\  676;    Zieliilski,   CtkderMfti  il  11//.  X'^m.,  Lpz.  1885,  288-314.     I" 
general,  Christ's  views  upon  these  questions  seem  to  me  much  less  correct  than 
those  of  Zielirtski ;  according  to  the  latter,  the  Greek  tragic  trimeter  was  com- 
m.>nly  rendered  through  rccitattve,  the  purely  comic  trimeter  through  the  V AJ? 
X^^is.'    So  far  at  conceflit  this  last  statement,  its  correctness  depends  upon  the 
meaning  given  to  ft\^  K  which  Im  itself  is  an  ambiguous  term.     If  the  al>sence 
of  musical  accompaniment  alowe  Is  meant,  no  exception  cm  be  taken  to  the  use 
of  this  term  ;  but  if  it  be  meant  that  th«  fecitation  of  the  comic  trimeter  if  •mere 
speech'  Of  *mere  declamativm*  in  the  nmlern  sense  (cf.  ifiXi?  4>tavii,  Dion.  H. 
tt^  Comp.  It),  and  that  it  is  unsupported  by  the  ir \(£<r/xa  or  w^rrXaatxivi  vvbKpUftf, 
such  a  conclusion  appears  to  me  to  be  quite  false  ;  cf.  Quintil.  II,  10,  13 ;  XI,  3, 
183,  and  see  esp.  Klot/,  Gnmds,  381.    The  Latin  equivalent  of  ^l^CKn  ^<#»4.  >» 
still  another  sense,  is  assa  vox,  Non.  pp.  76-77  M. 


kiass.  kit.  279  ff.,  384  ff. ;  Norden,  Kunstprosa,  I,  55  ff. ;  cf. 
Ly,  *'  Connection  between  GreeR  i\lusic  and  Poetry,"  in 
Studies  in  Honor  of  Professor  Gilderslecve,  p.  2^5  ff. ;  O.  Jahn,^2.-2i,y 
Hermes y  II,  418  ff.     A  few  ancient  testimonies,  several  of     5^  ^^J, 
which  are  not  quoted  in  any  of  the  works  just  named,  but  are  ' 

of  the  same  general  character  as  these  quotations,  may  be  men- 
tioned here:  Quintilian  (I,  8,  2) shows  at  some  length  that  the    ,    ^ 
reading  of  poetry/In  the  schools  should  be  different  from  the/ 
reading  of  prose  {non  qiiidcm  prosac  simili.\  and  should  be|^  '■»fi 

some  resemblance  to  song  (idrmrn);  cf.  id.  I,  10,  29;  Plin. 
£/f.  IX,  34,  2  ;  this  was  the  regular  custom  of  the  schools  in 
the  reading  of  Vergil,  Euripides,  and  other  poets,  cf.  Macrob. 
Sal.  I,  24,  6  (cane re);  Plut.  de  Fort.  Alex,  5,  p.  328  d  {aheiv); 
Cassiodor.  Var.  9,  21,  3  {decantare)\  Auson.  Rp.  XX 11,  47  P. 
(fiexn  et  aeuminc  vocis).^  Aristides  Quint.,  who  belongs  to 
the  fifth  century  a.d.,  but  who  often  draws  from  authoritative 
early  sources,  expressly  names  a  movement  of  the  voice  in- 
termediate between  song  and  speech,  which  is  to  be  used  in 
the  reading  of  the  poets  {dc  Mns.,  p.  7,  23  M.  /xeVr;  hk  {kl- 
PT]ai^\  7j  ra^  rmv  TroiTjpaTmv  apayvcoaet^  TroiovfieOa)^  \  this  state- 
ment of  Aristides  is  discussed  in  the  Trans.  Am.  Phil.  Assoc. 
XXX,  48,  by  Dr.  C.  W.  L.  Johnson,  who,  after  referring  to  the 
fact  that  the  points  of  pitch  must  have  been  more  stationary 
in  this  movement  than  in  conversational  utterance,  reaches 
the  conclusion  that  "the  metrical  quantity  of  the  syllables 
must  have  been  made  more  evident  than  is  possible  in  the 
case  of  the  spoken  sentence  "  ;  simikirly  Nicomachus  states 
that  if,  in  any  form  of  utterance,  the  quantities  of  the  several 
tones  are  distinctly  rendered  and  also  the  intervals,  the  voice 
passes  naturally  from  speech  to  song  {Euc/iirid.,  p.  4  M.  el 


*  Christ,  Parakat.^  pp.  175,  222,  cites  still  other  passages  as  proof  "fur  den 
Gehrauch  «les  latcinischen  cantare  im  Sinne  eines  bios  rhythmischcn  Vortrags, 
nicht  vollstiindij^cn  (iesanjjes"  ;  he  is  quite  mistaken,  however,  in  wishing  to  limit 
the  term  *  sin^''  in  this  rhythmical  sense  to  Roman  usage. 

^  We  find  this  statement  of  Arist.  fully  reproduced  in  Mart.  Cap.  IX,  p.  353 
Eyss.  (quoted  by  Jahn,  /./.,  421)  :  continuum  (genus  vocis)  est  velut  iuge  conlo- 
quium,  divisum  quod  in  modulatione  servamus.  est  et  medium,  quod  in  utroque 
permixtum  ac  nc(|ue  alterius  continuum  modum  servat  nee  alterius  frequenti 
divisione  praeciditur,  quo  pronuntiandi  mt>do  carmina  cuncta  recitantur. 


5^ 


Robert  S.  Radford, 


[1904 


Vol  XXXV.]      Studies  in  Latin  Aecent  and  Metric. 


S7 


fUfi  Tit  .  .  .  avayivdxTKoyu  ye  exBqXa  fiera^v  KaO*  exaarov  (f)06y- 
ffm  irtlfi  Til  phtj40%  BiiHTdpcov  teal  fiera^dXXcoi;  ttju  (fxoptjp  aw" 
&Wim'€k  iXhMv,  irmoBrm' . . .  #€Xcii£€ti'  Xeyerai).^     Herodotus 
repeatedly  describes  the  Fythia  as  giving  her  responses  (\e- 
jmp,  XP^p)  in  the  hexameter  or  trimeter  'tune '  (*  musical  mode/ 
•caience*:  li*  Ifa^eTpf  toj^,  I,  47»  etc.;  iv  Tpifierpo}  toW, 
I,  174*;  cf.  the  similar  use.  of  iimimip),  and  Plato  expressly 
ascribes  both  rhythm  and  musical  modulation  (apfxovia  =  Lat. 
emiemius)  to  'spoken  *  poetry  (Re/^.  397  d;  398  d),  which  he 
classifies  uader  fiovaiK^  {ReJ>.  37^  ^  ^-  *»  /^/'^'^''^-  60  ^  ff.).     I 
may  quote  also  tlic  dcinitioa  of  prose  given  by  Donatus  (on 
Ter.  Em.  2.  3»  H)  ^^  'that  form  of  speech  which  is  not  mod- 
lilated  by  song '  (fmrsa  &raiio,  quam  mn  inflcxit  cantilena), 
Fafther,  although  the  ordinary  recitation  of  poetry  is  usually 
indicated  by  the  expressions  'speak,'  *read,'  *  declaim,'  we 
.  find  the  terms  *  modulate '  and  •  sing '  also  at  times  in  use 
^•i*'ni^(Fricdlander,  /./.;  Christ^,  681),  which  imply  the  ^learr)  k.'vj]^^ 
tmj^v^         tr  ■«ir<-/fiiiwi  (Petron.,  c.  59;  68;  Gell.  XVIII,  5,  2).     l^rom 
these  and  similar  notices  we  may  fairly  draw  the  conclusion  that 
Sf  e»^  '^^'^^Rrt  of  tie  elevated  poetry  of  the  ancients  was  intended 
I  for  •mere  declamation'  in  the  modern  sense,  that  is,  intended 
for  the  simple  crvmxh's  fcipnat^  or  speaking  voice.     The  case 
is  altugelher  slniilar  with   the  chanting  of  the  oratorical 
rhythms ;  here  also  the  rhetor's  voice  adopted  a  movement 
>.  intermediate  between  speech  and  song,  as  is  expressly  stated 
■    by  Longinus  (i?/ir/.  I,  312.  14  Sp.),  and  is  well  attested  for 
j   all, periods  of  antiquity  (Norfcn.  U),     Finally,  the  view  of 

I       5  Jtist  bef.>re  Nicotn.  ^rritcs:  tA  5^  irepop  (yivot)  rb  (rvvex^i,  Ka(f  6  ofxiXoOfiiv 

I  Tiretf  (•ciuaiitlties*)  md  imKCKpifiims  dir'  dWi^Xwy  Trouicrdai. 

2  So  also  Joseph.  Ami,  II,  16, 4  (Ir  i^cLfiiTpt^  rdvip) ;  Thcmist.  On  2,  p.  27  c, 
Suidas,  i.r.,  has  the  plum! :  lIlPf««IP  f »  Tpo/xdirrevfia  iv  rbvoi^  i^afi^rpots.  Passow's 
Lex.  eKplaiM  Hmt  in  this  use  as  **  die  Hebung  im  Verse  u.  das  dadurch  entste- 
hende  lersmms'* ;  llius  tie  «o«il  appears  to  be  used  in  the  threefold  sense  of 
musical  tome  (Sent  Ewp.  757»  29  Bekk.).  word-tone,  awl  verse-tone.  In  Latin 
also  wf  should  probaI>ly  follow  llahreM  and  the  early  editors  in  reading  in  Stat. 
Si/r.  \\  3,  99:  lim'i .  .  .  duke  vel  heroos  grcssu  truncare  tenores.  Ho  combine  the 
curtaik-.l  pentameter  with  the  accents  of  the  hexameter  * ;  the  Ms.  reading,  truncare 
leones,  which  is  retained  by  Vollmer  (1898),  api>ears  to  be  corrupt  and  to  yield  no 
satisfactory  meaning. 


Ctk. 


i 


Christ  and  Westphal,  that,  in  cases  of  conflict,  the  Greek 
musical  accents  were  fully  preserved  in  recitation,  seems  im- 
probable; more  likely  Is  Gleditsch's  view  (Jlctr.^  86)  that 
they  were  preserved  only  in  part  (;/;/  ^i^vi.'ssr///  Grade'). 

2.  Probable  Effects. -- The  ancient  Greeks  and  Romans 
had  not  passed  that  stage  of  development  in  which  a  rigor- 
ously exact  rhythm  is  viewed  as  the  chief  essential  of  poetry 
(Gummere,  Bci^^innini^s  of  Poetry,  pp.  82-115).  Hence,  as  is 
well  known,  they  required  in  poetical  recitation  such  a  scru- 
pulous observance  of  the  rhythm  as  can  only  be  paralleled  by 
the  insistence  of  a  modem  audience  upon  correctness  of  tune 
in  singing  (Dion.  H.  de  Comp.  11  vied.;  other  references  in 
Ilaigh,  Attic  Tlieatrc\  309).  To  this  end  tlie  long  and  short 
.syllables  which  vary  greatly  in  length  in  ordinary  speech  and 
do  not  exist,  according  to  Westphal,  in  the  form  necessary 
for  exact  rhythm,  must  be  measured  more  exactly  in  terms 
of  the  time-unit,  the  ;)^/3oVo?  irpoyro'^^  esi)ecially  must  a  long 
syllable  be  given  api)r()ximately  twice  the  value  of  a  short 
one,  the  ratio  which  Aristoxenus  (p.  18  W.)  states  existed  in 
.song,  but  which  did  not  exist  in  speech  according  to  West- 
phal (IIF,  8  ff.).  The  careful  enunciation  which  in  this  way 
becomes  necessary  for  the  rhythmizing  of  speech  is  often 
mentioned  by  the  ancients.  Thus  Dionysius  Thrax  (first  cen- 
tury B.C.)  declares  that  /prosody  '  must  be  observed  in  read- 
ing verse,  and  that  the  metrical  art  {rixvi))  of  a  poem  is 
perceived  through  'trained  reading  according  to  prosody' 
(avdyvwai^  ivTpi^r)<i  Kara  irpoacohlay  i),  where  by  *  prosody '  is 
evidently  meant  such  a  precise  rendering  of  the  quantities, 
i.r.  such  an  enunciation  of  the  syllables  in  terms  of  the  ;)^/ooW 
TrpwTo?,  as  will  produce  rhythm 2;  cf.  also  Dion.  H.  de  Comp. 
U  :  rj  he  pvOfiiKT]  Kal  p,ovaLKrj  fiera^dWovaL  {ra^  avWafid^i), 
movaac  Kal  av^ovaai,  kt\.  Similarly  Dositheus,  in  his  inter- 
esting account  of  the  'reading  of  verse  in  the  schools,  states 
that  he  was  required  to  recite  with  an  observance  of  the 
rhythm  as  well  as  of  the  pauses  and  clausulae  {Colloqnia  Scho- 

J  Ars,  §  I,  Uhlig,  p.  5. 

^  For  the  comprehensive   meaning;  of  wootT^pUa  in  D.,  cf.  Supplem,  vetust., 
I  hlig,  p.  107,  and  also  Jannaris,  A.J.P.  XXIII,  77. 


58 


Robert  S.  Radford. 


[1904 


Vol.  XXXV.]      Stitdivs  in  Latin  Accent  and  Metric. 


59 


MsU  Roder,  p.  14:  versus  adnumerum  et  distinctum  et  clau- 
sulam  .  .  .  reddo  ad  praeceptorem);  cl.  Qumtilian's  remarks 
upon  £7^.ym'^/i^C  precision *X  IX. 4. 104  and  95,  and  the  frequent 
refercttces  to  poetry  as  •moulding'  the  pronunciation  of  the 
fWHif  C^.^  Hor.  Ep,  II,  I,  126  OS  .  . .  fignrat).  This  *  moulded  ' 
pronunciation  in  its  eitrenae  form  is  the  well-known  irXaaiia, 
the  use  of  which  the  ancients  often*  disapprove  for  the  simpler 
inctrcs  (Quint.  I,  8.  2 ;   t^),  but  require  in  the  rendering  of 
the  more  difficult  rhythms  (Christ'^  90.  682;  cf.  VVestphal, 
III,  i).     It  is  Ctident  that  the  effect  of  a  carefully  moulded 
wpoacphia  (cf.  under  i  above)  upon  the  word  accent  must  often 
have  been  very  great,  especially  in  the  case  of  an  accent  which 
is  partly  expiratory  like  the  Latin,  and  the  variable  quantity 
of  many  syllables  in  early  Latin  seems  to  result  from  this 
fact.     Thus  the  final  syllable  of  domi,  under  the  influence  of 
the  word-accent,  tended  to  shorten  in  popular  speech,  and  is 
often  so  used  by  Fl  in  the  first  foot,  before  the  beating  of 
the  time  was  fully  begun ;  but  in  those  parts  of  the  verse 
where  the  time  was  strictly  observed  this  syllabic  has  regu- 
larly the  value  of  two  xpo'^o*.  ^'•^-  ^^''^^*  ^"^  *^  ^^^^  pronuncia- 
tion the  expiratory  accent  must  have  been  practically  wiped 
o«t(cf.  V.  Henry,  Cmtp.  Gr.\  Eng.  tr.,  p.  ^7 ;  L.  M tiller,  R.  AI^ 
468)^;  cf.  ^#1////^^/ (where  the  verse-accent  also  assists  in  the 

I  Vet  by  MO  metns  always ;  for  we  fiiwi  in  the  commentary  ascril)e<l  to  Trobus 
(Verg.  f.fl  p.  6) :  Acneida  ciuoiitani  plasmate  legi  vt.lehat,  alt  •  arma  virumque 
■mnP.*  This  whole  <l»ciissioii  of  Probus  upon  the  form  of  poetical  delivery  (pro- 
mmiiaiU)  is  highly  tiiKCstive,  in  spite  of  the  arbitrary  diclum  that  ih^  plasma 
m  singing  deliirery  (riin/iire)  Is  to  be  employed  in  a  poem  (only)  from  the  point 
where  the  words  emmere  or  cmrmm  first  oecilf.  It  is  noteworthy  tliat  the  general 
teaching  of  the  commentary  agrees  perfectly  with  the  well-known  statement  of  C*el- 
lius  (VI,  7,  4)  that  Valerius  Probm  and  his  pupils  accented  ixddvenum  in  verse. 
For  the  meaning  of  irXda/wi,  cf.  Spalding  on  ( )uintil.  I.  8.  2.  who  quotes  some 
ancient  authorities,  and  also  the  excellent  modern  definition  of  Sahnasms :  "  vocrm 
mollem  et  eliquatam,  quae  per  omncs  sontis  intentionesque  varietur/'  For  numer- 
ous  references  to  the  abuse  of  this  singipg  delivery,  see  Jahn,  /./.,  4^2.  n.  I  and  2. 

2  At  the  same  time  the  rhythmical  tone  falls  upon  the  ultima.  In  a  somewhat 
similar  wav  Zieliiiski  in  his  recent  valuable  work,  Bm  Clauselgeseiz  III  Gmm 
Heden,  Leipzig,  1904.  reaches  the  cuitclision  that  iambic  words  are  oxytone  m  the 
oratorical  rhythms,  e^.  firimt:  cf.  p.  239:  -Immerhin  ist  zu  betonen,  .lass  fur 
den  rednerischen  Accent  die  iambischen  und  anapastischen  VVikter,  mi  Gegensatj 
2ur  gelaufigen  Auflfassung,  Oxytona  sind."    This  oxytonesis  is  of  course  not  the 


shortening)  and  omittebat.  In  a  similar  way  our  ancient 
authorities  recognize  also  for  prose  an  easy  and  colloquial 
pronunciation,  which  is  called  sermo,  or  oratio  ninissa  (Auct. 
ad  Her.  Ill,  13,  25),  but  they  prescribe  for  elevated  language 
an  emphatic  kind  of  utterance  which  involves  a  sustained 
effort  of  the  voice  and  is  called  cofitnitio,  or  oratio  acris{A\\Qt. 
ad  Mcr.  ibid.;  Cic.  Off.  I,  37,  132  ;  II,  14,  48,  etc.);  cf.  de  Or. 
Ill,  45,  177:  non  enim  sunt  alia  sermonis,  alia  contentionis 
verba,  .  .  .  sed  ea  nos  cum  iacentia  sustulimus  e  medio,  sicut 
mollissimam  ceram  ad  nostrum  arbitrium  formamus  et  finjri- 
mus.  This  contentio  vocis^  or  tense  voice,  passes  readily  over 
into  the  singing  or  modulated  voice  ;  cf.  Cic.  Off.  I,  37,  133  : 
sine  contentione  vo.x  nee  languida  nee  canora. 

It  is  probable,  then,  that  the  limits  of  variable  pronuncia- 
tion have  been  sufificiently  great  in  Latin  to  admit  the  exist- 
ence of  two  distinct  forms  of  pronunciation  :  i)  A  formal  and 
dignified  pronunciation  which  is  strictly  quantitative,  and 
which  in  its  extreme  form  —  the  ^learf  Kivr}aL^  —  usually 
possesses    no   appreciable  stress-accent.^      2)  An  easy  and 

normal  accent  {i.e.  Zielirfski's  *  Vulgaraccent ') ;  for  the  poj^ular  speech  pronounces 
diSm",  with  'half-long'  ultima,  and  hence,  as  is  well  known,  the  Romans  do  not 
admit  in  their  poetry  two  iambic  words  in  succession  in  the  rhythmized  form 
domh  Consequently  I  greatly  prefer  the  form  of  statement  adopted  by  Zieliiiski, 
p.  242:  "Die  quantitativ  bevorzugte  Silbe  hatte  die  Tendenz,  im  Re<lefluss  zu 
einer  tonisch  bevorzugten  zu  werden.  .  .  .  \'.jllends  in  der  rhythmisch  bewegten 
X^tA^  lag  die  Versuchung  nahe,  die  accentuirte  Kiirze  vor  dcr  Lange  zuriicktreten 
zu  lassen."  On  the  other  hand,  I  am  not  prepared  to  accept  Zieliiiski's  conclu- 
sions upon  fmerent  as  the  sole  form  of  the  oratorical  accent  for  anapestic  words, 
since  he  himself  hesitates  greatly  (p.  231)  between  the  accents  fdcerent  and 
ficermt.  Finally,  Zielinski's  conjecture  (p.  241  f.)  that  the  '  oratorisch-poetischer 
Atfent''  is  identical  with  the  archaic  popular  accent  of  the  third  century  B.C., 
si-rms  to  me  unnecessary;  it  is  rather  to  be  viewed  as  the  accent  which  the 
rhylhmizirsg  ])rocess  and  a  precise  obser\-ance  of  quantity  (m^ctt;  Klv^aii)  engender 
in  the  language  of  all  periods.  ( )ne  very  late  ancient  grammarian,  Vergilius  Maro 
(Kcil,  Suppl.^  190).  actually  professes  to  recognize  in  some  form  of  Roman  pro- 
nunciation the  accents  ri-ges,  amd^  etc.,  but  we  can  of  course  give  little  credence 
to  such  a  source. 

^  ^PPS""*^"*  '^fetrisch.  K'omp.  d.  Ter.,  who  has  a  general  discussion  of  this  sub- 
ject, does  m>t  go  so  far,  yet  he  writes  (p.  113,  n.  1)  :  "  Bei  den  verschiedenen 
Bewegungen  innerhalb  der  konstanten  \'ersbewegung  kann  doch  gar  recht  diese 
Stimmhohe  .  .  .  wenig  oder  schvvach  herausgehort  worden  sein,  .  .  .  wie  solche 
Acbenljcwegungen  beim  musikalischen  Dirigieren  immer  eingehalten  werden"; 


6o 


Robert  S,  Radford. 


[1904 


CDllaqiiial  pronuBciation,  in  which  a  weak  stress-accent  is 
developed  at  the  expense  of  quaiitity.i  All  Roman  poetry, 
since  it  is  at  once  quantitative  and  a  form  of  the  fiearj  K^vrj^i^, 
is  based  (with  the  exception  of  the  unusual  quantities  in  early 
Latia)  solely  upon  the  strict  quantitative  pronunciation  ;  it  is 
to  be  noted,  however,  that,  nilder  certain  favorable  quantita- 
tive conditions,  an  accentual  pronunciation  has  been  devel- 
oped in  the  Latin  language  as  a  whole,  and  has  greatly 
weakciied  all  simrt  syllables  immediately  preceding  or  follow- 
ing the  accent,  e.g.  g/fiim,  p/ciSm,  ^irire,  etc. 

Law  of  the  Relation  between  Word  and  Verse- 
accent.  —  In  any  case,  whether  the  Latin  accent  be  wholly 
iimsica!,  or,  as  seems  more  probable,  in  part  also  expiratory, 
it  is  certain  that  Latin  possesses  a  single  colloquial  'cadence ' 
or  •  harmony,'  viz.  the  accentual* (Aristotle's  17  Xe/cTi/ei;  ap^ovla, 
Piffi.  6 ;  Aristoxenus's  Xoywhe^  rt  fieXo^,  Harm.  Elcm.  1,17  W.); 
with  the  cniployment,  however,  of  a  stricter  quantitative  pro- 
niinciation  and  a  special  arrangement  of  the  quantities,  it 
acquires  a  score  or  more  of  metrical  'cadences'  or  'harmo- 
Hies,'  such  as  the  hexameter  cadence  (Hdt.'s  e^dfierpo^  toVo?), 
pentaineter  cadence,  Sapphic  cadence,  iambic  trimeter  ca- 
dence, etc.  As  Is  natural  in  different  spheres  of  time  and 
tone,  the  metrical  cadences  in  general  are  entirely  inde- 
pendent of  the  accentual  cadence,  but  among  them  all  there 
is  one,  the  laTObic,  whose  distinguishing  characteristic  in  both 
Grcelfc  and  Lalln,  as-  we  know  from  many  ancient  testimonies.^ 

c£  iibotc,  p.  54  ff.  Perhaps  we  can  only  say  with  certainty  that  the  worcl-acccnts 
were  very  greatly  weakened;  for  so  g  «ocl  an  authority  as  Ilanssen  writes  (Zur 
hi,  fi.  roman.  Meirik,  Valparaiso,  1901,  p.  51)  :  "  Es  konnen  ohne  die  geringste 
Schwierigkeitineinem  und  demselben  Vetie  zwei  rliyttiniiscllc  Stromungen  neben 
einatulcr  hergAen."  Cf,  also  Christ «  59*  Schdll,  Ek  me.,  p.  25  ff.,  and  Professor 
Hale,  Proc.  Am.  f^il  Assm.  XXIV  (l895)«  P-  ^^^'''  ^^  '^  certain,  however,  that 
th  ;  verse-tone  is  the  pfc4o«inml  tone  in  all  cases  where  the  words  are  properly 

rhvthmi/ed. 

1  These  ranant  prontinaiffons  mpMn  the  well-known  fact  that  Greelc  loan- 
words often  assume  a  double  form  in  Latin,  one  form  showing  a  retentiim  of  the 
Greek  accent,  as  I'hifippus  (PI.),  tvrannm  (Sergius,  IV,  528  K.),  cf.  Apmnis 
(•Air6\Xwws).  the  other  a  retention  of  the  Greek  quantity,  as  Philippus,  tyrannm. 

-^  Cf.  Cic.  Or.  17,  57  :  est  etiam  in  dicendo  quidam  cantus  obscurior. 

«  Afist.  PaeL  4/11,;  MkeL  3,  8  ;   Demetrius,  r.  ipfi.  43;   Hephaestion,  p.  19 


Vol.  xixv.]      Studies  in  Latin  Accent  and  Mctnc. 


61 


is  to  approach  more  closely  than  the 'rest  to  the  tone  of 
colloquial  speech.*  Hence  it  is  not  surprising  that  the  poet 
or  poets  who  arranged  the  Latin  iambic  and  determined  its 
orio-ina/  fm-m,  imposed  upon  it  the  law  that  it  should  agree 
with  the  accentual  cadence  in  the  pronunciation  of  g^'nar, 
Sp^rire,  etc.,^  and  doubtless  also  in  the  phenomena  of  the  dipo- 
dic  law;  further,  since  the  popular  iambic  cadence  tends  to 
be  associated  more  or  less  closely  in  the  Roman  mind  with 
the  accentual  cadence,  it  is  possible  that  the  popular  poets, 
even  after  the  determination  of  the  original  verse-form, 
tended,  in  some  measure,  to  prefer  agreement  to  disagree- 
ment in  neutral  cases,  il#,  in  those  cases  where  disagreement 
was  not  the  usage  of  the  verse  (in  the  manner  explained 
below).  Such  a  tendency  as  this  last  would,  however,  be 
contrary  to  the  usual  rule  of  Latin  verse,  and  its  existence 
must  consequently  be  coasidered  doubtful.^ 

Finally,  we  may  state  the  general  law  which  appears  to 
have  governed  Latin  verse  in  its  relation  to  accent.  The 
Latin  metrical  cadences  or  verse-forms  were  originally  con- 
stituted entirely  without  reference  to  accent,  and  solely  in 
accordance  with  metrical  laws ;  no  sooner,  however,  had  they 
assumed  a  definite  form  in  this  way  than  they  began   to 

W.  ;  Aristid.  Q.,  p.  38,  19  M.  ;  Cic.  Or.  55,  184  ;  56,  189  ;  57,  191  ;  58,  196, 
etc.  ;  Hor.  A.  /'.  81  ;  Quintil.  IX,  4,  75  f.  —  Some  of  these  passages  arc  cited  by 
Christ^,  315. 

^  Vet  even  here  the  wXdafm  was  employed  to  some  extent,  as  is  expressly 
iiSLted  for  f/te  comic  iambic  trimeter  by  Quintiiian,  XI,  3,  183:  pronuntiatio  ges- 
ticulalioni!)us  molesta  et  vocis  mutationibus  resultans  ;  cf.  also  Klotz,  Grundz. 
381. 

-  See  the  really  excellent  discussion  of  the  verse-accents  gcnere^  cSrpore^  in 
Klotz,  Grundz.  268-280. 

'^  The  most  general  principle  that  can  be  stated  here  is  that,  after  the  determi- 
natjnn  of  the  norm,  any  consiileral)le  deviation,  whether  favorable  or  unfavorable 
to  the  accent,  was  a  departure  from  literary  usage  and,  to  that  extent,  a  vulgar 
usage ;  see  the  striking  examples  cited  by  Munro.  The  literary  language  is 
especially  careful  to  avoid  too  close  an  approach  to  the  accentual  cadence  (the 
ordinary  tone),  as  is  clearly  implied  in  Cicero's  statement,  Or.  55,  184  ;  cf.  Christ-, 
p.  59.  On  the  other  hand,  popular  poetry  must  not  be  entirely  removed  from  the 
spoken  tone,  and  the  iambic  poets  have  perhaps  sought  to  avoid  a  succession  of 
disagreements  {continuatio  oxytonarum  vocum)  in  the  neutral  parts  of  the  verse; 
for  the  usage  of  Phaedrus,  cf.  Laugen,  Rhein.  Mus.  XIII,  198. 


R&beri  5.  Radford. 


[1904 


Vol.  XXXV.]     Studies  in  Latin  Accent  and  Mttric, 


^l 


respond  to  the  iniuence  of  the  accent  in  accordance  with 
a  simple  psychological  law.  In  view  of  the  uniformity  of 
tic  Latin  accentual  system,  the  result  of  observing  the  met- 
rical fttlcs  was.  U  produce  at^  ■certain  points  of  almost  every 
cadence  i)  agreement  of  accent  and  ictus  in  the  great 
majority  of  cases,  2)  disagreement  of  accent  and  ictus  in 
the  great  majority  of  cases.  Wherever  this  result  is  brought 
about,  the  Roman  ear  is  quick  to  note  the  relation  which 
usually  exists,  and  to  rec|iire  In  tlic  end,  is.  in  the  course  of 
the  historical  development,  that  it  shall  always  exist,  that  is, 
to  require  that  the  agreement  or  disagreement  shall  be  made 
invariable;  in  other  words,  the  Roman  ear  renumbers  the 
hexaittclcr  or  tie  &ppbic  or  ti€.  trimeter  cadence  at  certain 
points  by  tie  relation  which  it  bears  to  the  accentual  cadence, 
which  is  its  simplest  and  most  familiar  standard  of  measure- 
ment In  those  more  numerous  parts  of  the  verse,  however, 
wienj.  BO'  nsnal:  relation  between  accent  and  ictus  was  estab- 
lished, but  tie  effect  of  observing  the  metrical  rules  was  to 
produce  sometimes  agreement  and  sometimes  disagreement, 
tic  metrical  cadence  remained  wholly  unchanged,  wholly 
tiiMtiiSlsted'  'by  tic  accent,  so  long  as  the  Roman  ciuantitative 
system  endured. 

What  relation,  it  will  be  asked,  does  the  explanation  just 
given  of  the  development  of  Latin  verse  bear  to  the  views  of 
Ritselt  mA  Ms  iMmcrous  followers?  So  far  as  concerns 
cases  of  agreement  in  caesurae  and  in  verse-closes,  this  ex- 
planation agrees  with  Ritschl's  in  recognizing  the  fact  that 
the  agreement  has  been  brought  about  through  the  influence 
of  the  ,aCCC!ll,:  but  differs  from  Ritschl's  in  holding  that  agree- 
ment ii^.  not'  soiigit  /#r  m^^  bat:  in  consequence  of  fam.iliar 
association.  So  far  as  concerns  cases  of  disagreement  in 
caesurae  and  in  verse-closes,  the  divergence  from  Ritschl's 
view  is  still  greater.  For  Ritschl,  as  is  well  known,  started 
from  the  assumption  that  tic  Bomiil  poets  founcl  aelnal 
pleasure  in  the  agreement  of  letn*  and  accent,  and  hence 
sought  to  produce  this  agreement  as  often  as  possible.  So 
acute  an  observer  did  not,  however,  fail  to  recognize  that  the 
Romans  had  mniiilitakabiy  songit  to^  produce  disagreement 


also  in   many  parts  of  their  verse,  e.g.  while  agreement  is 
sought  in  the  second  half  of  the  dactyHc  hexameter,  disagree- 
ment is  required  in  the  first  half  of  the  same  verse.'     Hence, 
ill  a  well-known  passage  of  his  writings  (^^///.r.  II,  Leipzig^ 
1868,  p.  xii).  Ritschl  sought  to  explain  this  latter  fact  by  his 
famous  assertion  that  the  special  charm  of  ancient  verse  lay 
in  the  balancing  of  agreement  and  disagreement,  in  the  pro- 
duction of  an  '  hannonischc  Disharmonie:     According  to  this 
theory,  after  having  sought  agreement  in   one  part  of  the 
verse  for  the  pleasure  which  it  gave,  the  Romans  next  sought 
with  pleasure  {' suchten  mit   WoJilgcf alien')  to   produce  dis- 
agreement, in  order  to  contrast  the  two  parts  of  the  verse, 
and  seemingly  also  (though  this  is  not  expressly  stated)  in 
order  exactly  to  balance  the  two  opposing  forces,   quantity 
and  accent.     Every  one  will  recognize  that  Ritschl  in   this 
account  has  truly  and  graphically  described  an  effect  which 
has  been  actually  produced  in  many  kinds  of  Latin  verse; 
at  the  same  time  the  process,  through  which  this  effect  has 
come  about,  is  explained  in  a  quite  impossible  manner,   or 
rather  is  left  in  large  measure  wholly  unexplained.     For  how 
could  the  Romans  seek  agreement  with  pleasure,  and  then 
for  the  sake  of  an  abstraction,  such  as  '  balance  '  or  '  contrast,' 
seek  with  pleasure  —  disagreement  ?     In  point  of  fact,  neither 
aesthetic  pleasure  nor  aesthetic  pain  plays  any  part  in  this 
process,  which  is  purely  a  psychological  matter  of  association. 
It  remains  to  note  that  the  general  law  of  the  accentual 
development  of  Latin   verse,  which  I   have  given  above  in 
my  own   language,  was   first  clearly  stated  by  an   eminent 
American  metrician  and  a  former  student  of  Ritschl's,  Pro- 
fessor M.  W.  Humphreys,  in  a  careful  study  published  in  the 
Tram.  Am.  Phil  Assoc.  IX  (1878),  pp.  39-58.^      The  article 
in  question  deals  chiefly  with    cases   of   agreement  in   the 
dactylic  hexameter,  but  the  same  principle  is  expressly  applied 

'  And  still  earlier  in  the  dissertation,  Qiiaest.  metr.  de  accentm  memento  in 

r^rm  heroua.     Lips.  1874.     See  also  the  able  paper  of  II.  A.  J.  Munro,  Trans- 

>^'iims  0/  tke    Camhndge    Philosophical   Society,   Vol.    X    (1864),  pp.  374-402. 

Juniphreys  an.l  Munro  reach  quite  independently  precisely  the  same  conclusions 

respecting  the  intluence  of  the  accent  upon  Latin  verse. 


o4^' 


Robert  S.  Radford. 


[1904 


in  one  passage  to  the  explanation  of  cases  of  disagreement 
(p.  40).  Again,  Professor  Humphreys  has  limited  his  rule 
in  its  formal  statement  to  the  dactylic  hexameter,  but  I  cannot 
doubt  that  he  regarded  it  as  applicable  to  other  Latin  verse- 
forms  also.*  Since  Professor  Humphreys*  solution  of  this 
difficult  i)roblem  leaves  none  of  the  phenomena  unexplained, 
and  is  in  accord,  as  he  has  very  fully  shown,  with  the  histori- 
cai  development  of  Latin  verse,  it  seems  probable  that  it  needs 
only  to  be  better  known  ''W  supersede  in  this  field  the  less 
complete  and  less  carefully  constructed  theories  of  Ritschl 
and  of  Meyer.^ 

1  Professor  Iluninhreys  does  in  fact  state  his  coEclusions  in  a  more  general 

fiiriii,  jy^tts.  Am,  I%il,  Jssm.  Vllf  111, 

*  .-idttcmia  : 

p.  ^_jj,  n,,  —  for  siipptseil  cases  ol  the  itse  of  the  apex  in  Latin  Imicrr.  to 
denote  the  ictus,  v.,  Christiansen,  IJe  apicihtts,  \\  20. 

P.  56,  n.  2.— The  interpretation  which  1  place  upon  the  phrase  h  l|.  rbvo% 
requires  p^trhaps  t;,>  I)-*  more  clistiiutly  stated.  In  my  jud^'ment  6  c^.  rbvo^  is  the 
hexameter  /iifn/c,  and  is  ijarallel  to  the  I  A'dian  modt\  the  Phr>gian  ///o*//,  and  the 
like.  The  sptiken  tone  also  l)€loiig.-i,  as  the  ancients  often  recognize  in  a  general 
way,  among  the  musical  modes,  but,  in  the  chanting  or  intoning  of  verse,  it  is 
regularly  made  sulM»rdniate  to  the  new  mode  which  accompanies  the  verse.  If 
this  interpretation  of  rhvm  is  correct,  there  will  be  found  no  real  inconsistency  in 
the  various  rrfcrtnces  which  I  have  made  t»  the  meaning  t»f  the  term,;  cf.  also 
A,J:P.  XX,  V,  420  (421),  n.  5. 

F.  59  ((k>),  n.  I.  — Compare  the  somewhat  similar  vi:*ws  of  Gocxlell.  Chapters 
in  GreeJk  J/efrit:,  Xew  York,  icpi,  p-  167  f.  Several  other  tojiics  mentioned  in 
the  preceding  discussion  are  also  very  clearly  tr^«ated  l,>y  ,Pr»„»fess*,ir  Goodell,  vi/. 
the  elasticity  ».»f  sylla!»ic  cjuaiitity  (pp.  loo,  112),,  the  strict  »„>bservance  of  ihythin 

(p.  125),  the  use  of  wMfr/M  (p.  129,  etc.).     IVt.fessor  ( loodell  is  quite  ri^ht  in 

rejecting  (p.  125)  Wcstphal's  doctrine  of  "a  sharp  separation  between  the  rhytlua 
of  song  ami  that  of  spoken  verse";  on  the  other  han  I  he  appears  to  rely  too 
much  iit' his  exposition  ufion  modern  parallels  (p.  128),  and  to  take  too  little 
account  of  the  very  important  change  which  has  taken  place  within  historical 
times  in  the  usual  method  of  poetical  delivery,  although,  to  be  sure,  we  find 
wXdfffia  aptly  defined  (p.  50)  as  **the  more  exact  observance  of  rhythm  that  guts 
naturally  with  the  singing  voice." 


,  JS^aAi'^ 


7^ —        X"  A/'      '  ^ 


